• Korean Journal of Child Studies
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• v.28 no.2
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• pp.39-53
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• 2007

This study investigated the relationship between young children's comprehension and story making(narrative) by age and gender. Subjects were 109 3-, 4-, and 5-year-olds at two child care centers in K Province. Data were analyzed by two-way ANOVA and simple regression analysis. Results showed differences in comprehension between 3-, 4- and 5-year old children and differences in story making ability between 3- and 5-year-old children. Children's comprehension and story making had positive relationships. Specifically, there were significant relationships with children's comprehension and story construct concept, sentence structure level, language(vocabulary and sentence structure). In sum, the results of this study reveal that young children's comprehension ability is partially related to story making ability by age.

• Journal of the Korea Furniture Society
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• v.19 no.2
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• pp.141-150
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• 2008

Exploring on two major questions: 'Why do we feel more love for certain objects?' and 'How can design use this knowledge to realize design sustainability?', this article presents an alternative way of approaching the problem of design sustainability from the perspective that our relationships with design objects are of an extended mode of social relations. Recent discussions on design sustainability have transformed the notion of the problem by seeing it as a problem of our basic perception of design objects and our relationships with them. In this light, I propose that design sustainability could not be achieved solely by approaching from a mechanistic perspective, but by re-framing the way we see and relate things around us and by supporting our changes and actions to move forward a more sustainable notion of our relationships with the objects. As a way to realize design sustainability, I propose that design should involve story-making quality that supports our initiatives to build more affectional relations with objects by seeing the objects as entities of communication that tell stories of us, thus reflect our identities and meanings of our lives. Proceeding on the exploration of the subject, I present some of conceptual outlines in forms of an image diary, an interplay-able furniture unit, and a performance instruction that suggest a way for a special story-making process and thus a stronger emotional tie with the objects.

• Journal of Intelligence and Information Systems
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• v.19 no.4
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• pp.81-96
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• 2013

Video information retrieval has become a very important issue because of the explosive increase in video data from Web content development. Meanwhile, content-based video analysis using visual features has been the main source for video information retrieval and browsing. Content in video can be represented with content-based analysis techniques, which can extract various features from audio-visual data such as frames, shots, colors, texture, or shape. Moreover, similarity between videos can be measured through content-based analysis. However, a movie that is one of typical types of video data is organized by story as well as audio-visual data. This causes a semantic gap between significant information recognized by people and information resulting from content-based analysis, when content-based video analysis using only audio-visual data of low level is applied to information retrieval of movie. The reason for this semantic gap is that the story line for a movie is high level information, with relationships in the content that changes as the movie progresses. Information retrieval related to the story line of a movie cannot be executed by only content-based analysis techniques. A formal model is needed, which can determine relationships among movie contents, or track meaning changes, in order to accurately retrieve the story information. Recently, story-based video analysis techniques have emerged using a social network concept for story information retrieval. These approaches represent a story by using the relationships between characters in a movie, but these approaches have problems. First, they do not express dynamic changes in relationships between characters according to story development. Second, they miss profound information, such as emotions indicating the identities and psychological states of the characters. Emotion is essential to understanding a character's motivation, conflict, and resolution. Third, they do not take account of events and background that contribute to the story. As a result, this paper reviews the importance and weaknesses of previous video analysis methods ranging from content-based approaches to story analysis based on social network. Also, we suggest necessary elements, such as character, background, and events, based on narrative structures introduced in the literature. We extract characters' emotional words from the script of the movie Pretty Woman by using the hierarchical attribute of WordNet, which is an extensive English thesaurus. WordNet offers relationships between words (e.g., synonyms, hypernyms, hyponyms, antonyms). We present a method to visualize the emotional pattern of a character over time. Second, a character's inner nature must be predetermined in order to model a character arc that can depict the character's growth and development. To this end, we analyze the amount of the character's dialogue in the script and track the character's inner nature using social network concepts, such as in-degree (incoming links) and out-degree (outgoing links). Additionally, we propose a method that can track a character's inner nature by tracing indices such as degree, in-degree, and out-degree of the character network in a movie through its progression. Finally, the spatial background where characters meet and where events take place is an important element in the story. We take advantage of the movie script to extracting significant spatial background and suggest a scene map describing spatial arrangements and distances in the movie. Important places where main characters first meet or where they stay during long periods of time can be extracted through this scene map. In view of the aforementioned three elements (character, event, background), we extract a variety of information related to the story and evaluate the performance of the proposed method. We can track story information extracted over time and detect a change in the character's emotion or inner nature, spatial movement, and conflicts and resolutions in the story.

• Journal of Digital Contents Society
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• v.17 no.5
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• pp.383-390
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• 2016

is a service providing story synopses that match user's query. This paper presents a classification of character types by clustering of character tendencies found in the user log of . We also present a visualization method of showing genre-action relationships to each character type, and investigate the genre-action relationships of the major character types. We found that a small number of character types can represent more than half of the character tendencies and the character types tend to have a relationship to particular genres and actions. According to this properties, it would be desirable to provide supports for creative writing classified by character types.

• Korean journal of communication and information
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• v.81
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• pp.299-328
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• 2017

This study investigated news comprehension via the social media by comparing the reading of a news story on the news paper. A news story on the social media was suggested to present information in a conversational form, which differs from a traditional reporting style. To compare the different forms of news information presentation, two conditions were created: in a control condition, a news story was written in a traditional reporting form. In the experimental condition, the same news story was constructed in a conversational form. Participants were assigned randomly in one of two conditions. They read the news story and afterwards, they were asked to recall firstly, the core idea of the news story, secondly the whole news story, and finally to answer to the 10 questions that assessed how well they learned from the news story. Participants' responses were content-analyzed and produced six variables, the extent to recall the core idea, the extent to recall the whole story, the extent to recall wrong information, the extent to recall additional information, the extent to recall causally related contents in general, and finally the extent to recall causally related contents in story-specific. Analyses on the six variables revealed that the group in the news paper condition recalled more core idea, the whole story, and additional information than the group in the social media. But the news paper condition recalled less of wrong information than the group in the social media condition. Additionally, the news paper condition learned more than the group in the social media. Regarding the recall of causally related contents, the general causal relationships were recalled more in the group in the social media condition but the story specific causal relationships were recalled more in the group in the news paper condition. The findings seemingly indicated that a traditional news reporting contributes to news story comprehension more than the conversational form. Authors however added discussions and advised that the findings needed to be read under caution.

• Korean Journal of Child Studies
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• v.28 no.4
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• pp.19-33
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• 2007

This study examined the effects of closeness of peer relationships on intersubjectivity in young children's joint story making of wordless picture books. The joint story making activity of 32 five-year-old children was videotaped and transcribed, and the structure and negotiation types of interaction were examined by Goncu's (1993a) measure of intersubjectivity. Results showed (1) closeness of peer relationship was related to the structure of intersubjectivity children working with very close peers exhibited more turns. (2) Children working with very close peers used more extension and acceptance negotiation types, whereas the children working with non-close peers used more building-on of own ideas and irrelevant acts of negotiation.

• Earthquakes and Structures
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• v.11 no.1
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• pp.165-178
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• 2016

The goal of energy-based seismic design is to obtain a structural design with a higher energy dissipation capacity than the energy dissipation demands incurred under earthquake motions. Accurate estimation of the story hysteretic energy demand of a multi-story structure is the key to meeting this goal. Based on the assumption of a mode-equivalent single-degree-of-freedom system, the energy equilibrium relationship of a multi-story structure under seismic action is transformed into that of a multi-mode analysis of several single degree-of-freedom systems. A simplified equation for the estimation of the story seismic hysteretic energy demand was then derived according to the story shear force and deformation of multi-story buildings, and the deformation and energy relationships between the mode-equivalent single-degree-of-freedom system and the original structure. Sites were categorized into three types based on soil hardness, namely, hard soil, intermediate hard (soft) soil, and soft soil. For each site type, a 5-story and 10-story reinforced concrete frame structure were designed and employed as calculation examples. Fifty-six earthquake acceleration records were used as horizontal excitations to validate the accuracy of the proposed method. The results verify the following. (1) The distribution of seismic hysteretic energy along the stories demonstrate a degree of regularity. (2) For the low rise buildings, use of only the first mode shape provides reasonably accurate results, whereas, for the medium or high rise buildings, several mode shapes should be included and superposed to achieve high precision. (3) The estimated hysteretic energy distribution of bottom stories tends to be underestimated, which should be modified in actual applications.

• International Journal of Concrete Structures and Materials
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• v.10 no.3
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• pp.355-371
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• 2016

In this study seismic performance of reinforced concrete staggered wall system structures were investigated and their behavior factors such as overstrength factors, ductility factors, and the response modification factors were evaluated from the overstrength and ductility factors. To this end, 5, 9, 15, and 25-story staggered wall system (SWS) structures were designed and were analyzed by nonlinear static and dynamic analyses to obtain their nonlinear force-displacement relationships. The response modification factors were computed based on the overstrength and the ductility capacities obtained from capacity envelopes. The analysis results showed that the 5- and 9-story SWS structures failed due to yielding of columns and walls located in the lower stories, whereas in the 15- and 25-story structures plastic hinges were more widely distributed throughout the stories. The computed response modification factors increased as the number of stories decreased, and the mean value turned out to be larger than the value specified in the design code.

• Steel and Composite Structures
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• v.50 no.3
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• pp.265-280
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• 2024

The collapse behavior observed in single-story beam-column assembly (SSBCA) do not accurately represent the actual overall stress characteristic of multi-story frame structure (MSFS) under column loss scenario owing to ignoring the interaction action among different stories, leading to a disconnection between the anti-collapse behaviors of "components" and "overall structures", that is, the anti-collapse performance of frame structures with two different structural scales has not yet formed a combined force. This paper conducts a numerical and theoretical study to explore the difference of the collapse behaviors of the SSBCA and MSFS, and further to reveal the internal force relationships and boundary constraints at beam ends of models SSBCA and MSFS. Based on the previous experimental tests, the corresponding refined numerical simulation models were established and verified, and comparative analysis on the resistant-collapse performance was carried out, based on the validated modeling methods with considering the actual boundary constraints, and the results illustrates that the collapse behaviors of the SSBCA and MSFS is not a simple multiple relationship. Through numerical simulation and theoretical analysis, the development laws of internal force in each story beam under different boundary constraints was clarified, and the coupling relationship between the bending moment at the most unfavorable section and axial force in the composite beam of different stories of multi story frames with weld cover-plated flange connections was obtained. In addition, considering the effect of the yield performance of adjacent columns on the anti-collapse bearing capacities of the SSBCA and MSFS during the large deformation stages, the calculation formula for the equivalent axial stiffness at the beam ends of each story were provided.

• Korean Institute of Interior Design Journal
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• v.21 no.1
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• pp.103-110
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• 2012

With a theoretical focus on the emotional experiences created via the interface, and the relationship between human beings and space, this study aims to corroborate and clarify the formation and verification of emotional interactions between human beings and space using body movements. It follows the method of Coining "Movement Phrases" through the analysis of body movements in the experimental space, thereby developing them into a complete scenario to produce the story of emotional expression. This study has hereby generated the following outcomes: First, the "pocket-type" exhibition displays a higher frequency of body movements than the "general" exhibition. It has close connections with emotional vocabularies: "Curious," "interesting," "warm," and "fun." The "general" exhibition records a relatively high frequency of emotional vocabularies like "natural," "efficient," and "free." Second, it is possible to analyze the story of space using a scenario, just like drama, based upon attributes and serial relationships. The "exposition" section reveals a high degree of "curiosity" and a large number of body movements, while the "development" section indicates high degree of "surprise" plus slight body movements. The "transition" sections manifest high "interest" and many body movements, and the "climax" section shows a high frequency of "surprise" and many changes in body movements. The "conclusion" section finally invokes images together with body movements.