Earticle

한량무(閑良舞)는 한국 춤의 원형과 전형이 잘 전승되고 기록된 민속춤 중 하나이다. 정현석이 기록 한 『교방가요』(1865)에 근원적 모습이 기록된 이래 한량무는 개화기에 기생들에 의해 그 맥이 이어졌 고, 한성준이 무대공연예술로 선보인 이후 다양한 형식으로 전승되어 왔다. 특히 한량무는 서사구조가 제대로 기록되어 온 무용극이란 측면에서 의미가 크다. 무용극으로 한량무는 경기과 영남지역을 중심으 로 전승되었는데, 한성준 계열 강선영･장홍심 한량무는 인물 구성이나 서사구조 등이 가장 정제되어 있는 형태로 2014년 서울시 무형문화재로 지정되었다. 한성준 계열 한량무는 크게 4개의 시퀀스 (sequence)로 이루어지는데 한량과 색시 이야기, 중과 색시 이야기, 한량과 주모 이야기 그리고 마지막 해소의 장으로 구성되어 있다. 이는 최소화된 단위 구조의 결합으로 이야기를 만들고 이를 움직임으로 표현할 수 있는 무대예술로 열린 공간을 지향한다. 등장인물은 한량, 색시, 중(먹중), 주모(酒母)로 하여 주체자(subject)를 한량으로 객체(objet)를 색시 로 반대자(opponent)를 중으로 보았을 때 두 갈망의 충돌 속에서 사랑을 쟁취하려는 삼각 구조로 나타 난다. 그렇지만 여기서 중과 한량의 직접적인 갈등 양상 없이 색시를 중심으로 이루어지는 형식이면서 도 성격, 인물은 행위개념에 의해 표면화되어 나타나는 특징을 지닌다. 한량무는 다른 장르와 상호텍스 트성을 통해 무대공연예술로 발전한 전통 무용극으로 드라마투르기의 전형을 드러냄과 동시에 문화전통의 측면에서도 의미가 있다.

Hallyangmu is one of folk dances, in which the original form and archetype of Korean dance have been well inherited and recorded. Since its original forms were recorded in Gyobang Gayo (1865) written by Jeong Hyeon-seok, Hallyangmu has been inherited in various forms. It was passed down by gisaeng in the enlightenment era and performed as theater dance by Han Seong-jun. Notably, it is a dance drama in which narrative structure has been well recorded. Hallyangmu, has been inherited mainly in Gyeonggi region and Yeongnam region. Hallyangmu danced by Gang Seon-yeong and Jang Hong-sim, who followed Han Seong-jun’s style, was designated as a cultural asset of Seoul City in 2014 and has been most standardized in terms of character composition and narrative structure. Hallyangmu in Han Seong-jun’s style largely consists of four sequences: story of a playboy and a maiden;of a Buddhist monk and a maiden;of a playboy and a female barkeeper; and the final sequence for resolution They make.a story with the combination of minimized unit structure and seek an open space in which the story can be expressed in movements. The characters in the dance are a playboy, a maiden, a Buddhist monk (dark faced Buddhist monk) and a female barkeeper. When the playboy is seen as a subject, the maiden as an object, and the monk as an opponent, the dance is expressed in the triangle contrast structure in which two male characters have conflicts to win love. However, the structure centers on the maiden without direct conflicts between the Buddhist monk and the playboy, and personalities and characters come to the surface through concepts of behaviors.

네트워크와 기술의 발전을 통해 도래한 가상세계는 월드와이드 웹의 새로운 방향으로 제시되고 있다. 가상세계는 필연적으로 다양한 스토리텔링을 창발해내는 장으로 역할하게 되는데 본 연구는 이때 가상세계에서 나타나는 서사구조를 기호학의 관점에서 살펴보고자 한다. 먼저 생활형 가상세계와 게임형 가상세계로 가상세계를 유형화하고 개발자 스토리텔링과 사용자 스토리텔링이라는 상대적 관점에서 가상세계의 서사구조를 살펴본다. 이를 통해 이들을 포괄할 수 있는 목적지향적 서사구조를 제시하고 기존 기호학의 이론을 통해 고찰해본다. 마지막으로 목적지향적 서사구조에 의해 형성되는 가상세계의 스토리텔링과 그 의의를 살펴본다.

The Virtual World is caused by the development of computer technology and network, and it is thought that the future of World Wide Web. In Virtual World, people make their own storytelling or enjoy a storytelling of other people. This research attempts to analyze the narrative structure in the Virtual World with the methodology of semiology. Typically, the Virtual World is divided to focus on gaming or not. And there are developer and user in Virtual World, so it makes different storytelling. From this point of view, this research present the goal-oriented narrative structure for covers all situation and use existing semiology Theories. Finally, we examine the Virtual World storytelling, shaped by the goal-oriented narrative structure in the concrete, and draw their meanings.

이 연구에서는 스포츠영화 ‘당갈’의 텍스트에 내재된 여성 스포츠 이야기가 어떻게 전개되고 있는지, 그 상징적 의미는 무엇인지에 대해 고찰해 보고자 하였다. 이를 위해 영화의 대본수집과 텍스트 분석(textual analysis)을 실시하 였고, 결과는 다음과 같다. 첫째, 영화 ‘당갈’의 서사구조 분석은 다음과 같은 단계와 내용을 함축하고 있었다. 발단단계 는 마히비르의 못다 이룬 꿈 VS 이룰 수도 있는 꿈의 의미를 함축하고 있었으며, 전개단계는 혹독한 훈련, 뚜렷한 목표 의식, 그리고 승승장구로 나타났다. 위기1단계는 기타의 자만심으로 인한 갈등과 계속된 패배, 2단계는 마하비르와 지 도자와의 갈등과 금메달 획득을 위한 모든 수단 모색의 의미가 나타났다. 절정단계에서는 마하비르와 기타의 끈질긴 투 혼의 의미가 있었으며, 결말단계에서는 인도 여성 최초의 영연방 대회 금메달로 인한 레슬링 열풍의 의미를 내포하고 있었다. 둘째, 영화 ‘당갈’에서 나타난 여자 레슬링의 상징적 의미는 수동적 여성상 파괴의 상징: 여성도 하나의 인격체, 남성을 뛰어넘는 여성상의 상징: 남성과의 동등함 쟁취, 그리고 가족애 완성을 위한 마지막 퍼즐: 부성애 재확인으로 나타났다.

This study aims at how the women's sports story, embedded in the text of the sports film “Danggal,” is unfolding and what its symbolic meaning is. For this, the script of the movie was collected, and a textual analysis was performed. Following is the result of the study. First, the narrative structure analysis of the film ‘Dangal’ implies the following steps and contents. The beginning stage involves Mahibir's unfulfilled dreams vs. dreams that could be achieved, and the stage of development appeared to be harsh training, clear goal consciousness, and a wining tool. The first stage of the crisis showed conflict and continuing defeat due to other pride, and the second stage means the search for all means for conflict and gold medal acquisition with Mahavir and leader. At the climax stage, Mahavir and other gangsters were meant to be a persistent tug of war, and at the end stage, it was the wrestling frenzy of Indian women 's first British Commonwealth gold medal. Second, the symbolic meaning of female wrestling in the film ‘Dangal’ is the symbol of passive destruction of women: a woman is a person, a symbol of a woman who surpasses men: the equalization with men and the final puzzle : Reverification of the siblings.

이 연구는 이인로의 <청학동기>와 동양인들의 무릉도원 원전으로 불리어지는 도연명의 <도화원기>의 서사구조를 비교분석했다. 이는 한국적 이상향의 공간, 낙토에 대하여 희곡으로 창작하는데 그 토대를 제공하는데 목적을 두었다. 서사구조 비교의 연구결과는 다음과 같다. 첫째, 안내자 모티프가 등장한다. <청학동기>는 노인의 말(言)이며 <도화원기>는 길 잃은 어부를 이끄는 복숭아꽃(桃花) 이다. 둘째, 이상공간은 실재(實在) 공간으로 설정되어 있다. <청학동기>은 지리산의 연원을, <도화원기>는 ‘무릉’ 이라는 지명을 등장시키고 어부가 찾아갔던 공간은 무릉 지역의 어느 곳에 실재하는 장소로 인식하게 되었다. 셋째, 소구협로(小口狹路), 동굴모티브가 활용되고 있다. <청학동기>는 길이 비좁고 구불구불하여 겨우 사람이 지나다닐 수 있다. 그리고 수십 리를 지나서야 광활한 벌판의 경지가 전개된다고 하였다. <도화원기>는 좁은 동굴을 지나 광활한 토지(土地平曠)에 이르게 된다. 넷째, 광전(曠田)의 자족경제 모티프가 등장한다. <청학동기>는 곡식을 심기에 적당한 비옥한 옥토라는 점에서 낙토임을 내세운다 <도화원기>는 기름진 땅과 아름다운 연못, 뽕나무와 대나무 등이 있는 풍요로운 자급자족의 경제체제를 강조한다. 다섯째, 피안의 세계 공간임을 부각시키고 있다. <청학동기>는 ‘대개 속세를 떠나 사는 사람들이 살았다’는 말을 하고 있다. <도화원기>는 이상공간에 거주하는 사람들이 진(秦)의 난을 피해 세상과 단절된 이곳으로 들어온 사람의 후손임을 밝히고 있다. 여섯째, 재접근의 거부 모티프가 나타난다. <청학동기>는 이인로가 당형과 함께 ‘청학동’을 찾았으나 끝내 찾지 못한 것으로 설정하고 있다. <도화원기>는 ‘바깥사람에게 이야기 하지 말라’는 당부를 함에도 어부는 길에 표시하고 세상을 나가 알림으로써 재접근을 시도하나 끝내 실패한다. 일곱째, 시간 초월 공간이 아님을 제시하고 있다. 이로써 ‘청학동’이라는 이상공간이 신선들이 사는 시간 초월적 선계가 아니라 인간들이 행복하게 거주하는 ‘낙토(樂土)’의 개념임을 두 작품은 제시하고 있다. 이처럼 두 작품의 서사구조는 매우 유사한 동시에 현시대를 살고있는 우리들의 이상적 낙토 공간은 현실에서 행복하게 사는 곳이라는 주제의식을 드러냈다.

This paper compares and analyzes the narrative structures of Lee In-ro’s CheongHakDong-Gi and Do Yeon-myeong’s DoHwaWon-Gi, known as the original text of Mureungdowon. The study aims to provide the foundation for creating a play about a utopia for Koreans. The results of the comparison of the narrative structures are as follows: First, guides are a central motif. They are the words of the old man in CheongHakDong-Gi and the peach flowers leading a lost fisherman in DoHwaWon-Gi. Second, the ideal spaces are actual places. Jirisan Mountain appears in CheongHakDong-Gi, and the place name ‘Mureung’ in DoHwaWon-Gi is recognized as a real region by the fisherman who had visited there. Third, Soguheolro (referring to a cave with a small entrance leading to a narrow route) is a dominant motif. CheongHakDong-Gi describes the route as confined to the extent that people can scarcely move and can only see the vast landscape after advancing a great distance at considerable discomfort. In DoHwaWon-Gi, passing through a narrow cave leads to a vast land. Fourth, self-sufficiency is a recurring motif. CheongHakDong-Gi indicates that rich and fertile lands suitable for growing crops abound. DoHwaWon-Gi emphasizes that a rich self-sufficient economic system exists since there are fertile soils, beautiful ponds, mulberry trees, and bamboo. Fifth, Nirvana (a state of enlightenment) is highlighted. In CheongHakDong-Gi, itsaysthat ‘There lived people who usually escaped from the world in the old days.’ DoHwaWon-Gi reveals that the people living in the ideal place are the descendants of those who arrived to avoid the revolt during the Qui dynasty. Sixth, denying reentry is another prominent motif. In CheongHakDong-Gi, Lee In-ro searches for Cheonghak-dong with Danghyeong only to fail. In DoHwaWon-Gi, despite being asked to refrain from communicating the location, the fisherman attempts to reenter without success after leaving markings on the road informing others. Seventh, it is suggested that these writings are not about a place beyond time.

본 연구는 실화를 바탕으로 한 스포츠영화 '쓰리 세컨즈'에 투영된 냉전시대 스포츠스토리가 어떻게 전개되고 그 속에서 나타나는 상징적 의미가 무엇인지에 대해 고찰하는 데 있다. 이를 위해 자막에 대한 텍스트 분석(textual analysis)을 실시하였다. 결과는 다음과 같다. 첫째, 영화 '쓰리 세컨즈'의 서사구조 분석은 5개 구조에 12개의 구성단위 로 구성되었다. 발단은 냉전시대가 낳은 경기패배는 곧 국가의 패배, 쉽지 않았던 감독 선임으로 나타났다. 전개는 새로운 훈련을 위한 제안, 아쉬운 데뷔전의 우승, '영원한 제국은 없다'이다. 위기는 하나의 팀이 되기에 어려움, 미국 농구의 두려 움, 예상하지 못한 부상과 불치병이다. 절정은 심정 변화와 신뢰, 테러와 도주, 길고 긴 마지막 3초의 승부, 결말은 냉전에도 굴복하지 않는 스포츠 정체성의 의미가 나타났다. 둘째, 영화 ‘쓰리 세컨즈’에서는 사실 왜곡과 사물의 대립을 통해 잔존하 는 정치․문화적 우월성 및 국수주의적 성향의 상징성을 나타내고 있다.

The purpose of this study is to examine how the sports story of the Cold War era projected on the sports film 'Three Seconds' based on a true story unfolds and what is the symbolic meaning of it. To this end, textual analysis of subtitles was performed. The results are as follows. First, the narrative structure analysis of the movie 'Three Seconds' consisted of 12 units in 5 structures. The inception was that the defeat of the economy created by the Cold War era was the defeat of the nation and the appointment of a difficult manager. The development is a proposal for a new training, an unfortunate debut victory, and 'There is no eternal empire'. Crisis is the difficulty of being a team, the fear of American basketball, unexpected injuries and terminal illness. The climax is a sense of change and trust, terrorism and escape, the long and last three seconds of the game, and the ending has the meaning of a sports identity that does not yield to the Cold War. Second, the film “Three Seconds” shows the symbolism of political and cultural supremacy and nationalist tendencies that persist through fact-distortion and objection.

Chinese film industry has recently grown rapidly. In the process, lots of foreign films have been reproduced in China as remake films which usually are localized for Chinese audiences. These remake films can be preferred because they have been proved to be popular in foreign countries where original films were released. Then the issue is how to customize original films to Chinese version. In this paper, foreign originals and Chinese remake films by genre (romantic, criminal suspense, family and fantasy) were compared along with narrative structure (character, plot, and lines) and the shooting technique (color and lighting, scenes and props, shooting skills). We collected 21 sets of original-remake couples of films (11 romantic, 6 criminal suspense, 2 family, and 2 fantasy films) released between 2013 and 2017 in China. As a result, we found that Chineseremake films tend to have more indirect description on love, show crime background, prefer happy ending, and describe main title more intelligent compared to foreign originals for narrative structure components. Also, we found that Chinese remake films tend to use red color for romantic mood, chilly grey for crime scene, red-and-yellow contrast for family gathering, and blue color for fantasy mood compared to their foreign originals. The findings of this study would contribute to the literature in the film industry, especially in remake films production field, by showing how cultural differences between foreign countries and China can be applied in remaking foreign-original films, and eventually benefit to practitioners who are working in Chinese films industry. Specifically, in terms of color usages, Chinese remake films have more ethinically distinguished characteristics from foreign original films which should be considered by Chinese films business people. Narrative structure components are not relatively mush different between the compared sets of films.

이 연구는 처용설화를 중심으로 무용의 대중화에 대한 실천적 과제를 모색하기 위해 스토리텔링을 기반으로 하는 새로운 콘텐츠의 활성화 방안에 주목하다. 최근 지식, 창의, 정보 등 무형 자원의 중요 성이 대두되면서 이야기를 산업의 기본 요소로 제시하고 산업화하려 하고 있다. 이를 바탕으로 이 연구에서는 무용의 예술적 가치를 조명하기 위해 스토리콘텐츠로서 처용설화를 소재로 다양하게 접근되었던 무용공연작품을 살펴봄으로써 설화의 현대적 수용 양상을 알아본다. 또한 고전발레 3대 걸작으로 세계 대부분의 발레단 주요 레퍼토리로 공연된 <백조의 호수>가 스토리 콘텐츠 로서 다양하게 변화되어 현대적으로 수용된 양상을 살펴본다. 이 작품은 동양과 마찬가지로 생활 속 민담, 민화에서 소재적 배경을 이끌어내었다. 이에 스토리라인이 잠재적 인식 속에 내재되어 있어 예술 작품의 원동력이 되었고 이 에너지 발산은 폭넓은 예술분야의 소산물로서 향력을 보여준다. 마지막으로 보편성과 대중성의 가치를 살펴보기 위해 서사구조의 작품으로 스토리에 관한 연상 작용 을 일으켜 대중이 쉽게 다가갈 수 있는 <처용랑>과 <백조의 호수>의 서사구조를 비교 분석함으로서 무용공연예술의 흐름에 어떠한 향을 미쳤는지 살펴본다.

This study focuses on strategies to promote new content based on storytelling with the case of <Cheoyong> in particular in order to make dance more mainstream. As the importance of intangible assets such as knowledge, creativity and information emerged in recent years, stories have been presented as a basic element of business to be commercialized. The story of Cheoyong is a leading example of where a narrative work that is latent in the subconscious of the public has been approached from various angles. To shed light on the artistic value of dance that uses the story of Cheoyong as its theme, this study reviews the contemporary patterns in which the story of Cheoyong has been adapted to dance performances. Moreover, <Swan Lake>, one of the major repertoires of the world’s leading ballet companies and one of the three major classical ballet works, is reviewed in terms of how dance content can be brought into the consciousness of mainstream culture. <Swan Lake> has also captured the theme from folklore of the West, just as in similar cases in the East. The storyline has become latent in the subconscious of the public that drives the art work, which then affected works in a wide array of art fields. Lastly, to review the universal value, the narrative structures of <Cheoyongrang> and <Swan Lake> were compared in terms of how stories can lead to a chain of reminders, thus shedding light on the trends in dance performe art.

본 연구는, 한국과 프랑스 방송 뉴스 텍스트는 이슬람에 대한 어떤 담론을 형성하는가? 한국과 프랑스 방송 뉴스는 파리 테러를 통해 이슬람에 대한 어떤 표상적 관습을 실천하는가? 라는 2가지 연구문제를 중심으로, 2015년 11월 13일 발생한 파리 테러를 보도하는 KBS 뉴스9(9시 뉴스)와 프랑스 TF1 Le 20H(8시 뉴스)의 이슬람 재현 방식을 비교했다. 먼저 앵커 멘트, 기자 발화, 자막 처리에 따른 언어표현과 편집, 자료화면 구성과 같은 영상표현에 대한 분석을 수행했다. 자막 처리된 영상을 하나의 숏으로 선정하여 텍스트가 이슬람 관련 이미지에 의미를 부여하는 방식과 그에 따른 맥락화를 살펴본 결과, KBS 뉴스9는 사건 중심의 분절된 뉴스 소재와 제한된 정보원으로 테러에 대한 공포를 극대화하고 IS와 이슬람을 동일시하였다. 반면 TF1 Le 20H는 사건에 대한 다각적 접근을 위해 정보원의 다양성을 추구하였고, 위기를 극복하기 위한 연대의식을 강조하며 이슬람이란 단어 사용을 절제하였다. 그러나 한국과 프랑스 방송 뉴스 모두 파리 테러의 근본적인 원인을 진단하기보다는 피상적인 사건보도에만 집중한다는 점에서 한계를 지닌다.

This study focused on media coverage of Paris attack on 13 November 2015 comparing TV news reporting on KBS <News 9> of Korea and TF1 <Le 20H> of France to better understand the ways in which how the media offers the imagery of the Islamic world. In order to examine the representation of Islam, news reporting for one week — from 14th to 20th Nov. 2015 — was analyzed based on linguistic representation and pictural representation. As a result, the findings have differences between KBS and TF1. In case of KBS, it portrays the fractured news items and sources focusing on attack as an accident, which lead to maximize a fear of uncertainty with identifying IS as the representative of whole Islam. On the other hand, TF1 utilizes the multifaceted approach with various sources to stress solidity within French society. Despite its differences, both news coverages do not delve into the fundamental factors that has caused Paris attack. In this sense, this study paves the way to embrace others, particularly Islam to unify multi-cultural society with employing balanced news reporting.

This research describes the translation of advertisement based on the Semiotics Approach, adopting the Actantial Model of Greimas. Specifically, this research uses a Japanese-to-Korean translation of an advertisement of SK-II to perform an analysis of the six actants in the Actantial Model of Greimas. It shows how the meaning of both the Source and the Target text’s narrative structures are contained, or shifted. Further, Korean competing brand’s advertisement was adopted as a Parallel Text and its narrative structure was analysed, to compare it with the Target Text. The current research aims to show an insight into how translation of advertisement should encompass visual images tounderstand the meaning of the narrative structure of the Source and Target texts, rather than simply replacing textual material in one language with equivalent textual material of another.

Commonly speaking, it 's not an easy thing for a movie which visualized a certain literary text to receive an exceeding evaluation than the original text itself. Though the audio-visual impression of video text is very strong, the original literary text can give deeper and louder resonance through invisible imagination and lingering echos. In that sense, it is very exceptional case that Ueda Akinari's novel, 『Ugetsu monogatari』(1776) gave a major influence not only to the Japanese modern writers but also to people of more generations and of wider ranks as transformed to the same named movie by Mizoguchi Kenj. As like Akinari's 『Ugetsu monogatari』 though based on Japanese classics and Chinese old stories, completely changed itself to a whole new work, Mizoguchi's movie, 《Ugetsu monogatari》(1953) also based on an original work, borrowing basic narratives, appropriately adding Mizoguchi-movie style artwork and historical characteristics, was re-born as a new work . This study examined that in the comparing viewpoint on narrative structures of original work and of the movie based on the work, dramatization of the original text to an audio-visual movie scenario had led to what kind of changes. Hopefully, through the comparison between narative structures of the original work and of the movie, and examining how Akinari's 『Ugetsu monogatari』had been interpreted , the original work could be understood better.

Theme park could be understood as a composition of ’theme’ and ’park’. This structure is based on a narrative: one of the humanities. The objective of the study was to confirm the narrative structure of theme park, then establish frameworks for theme park design on the basis of Narratology and Semiologie. Theme park could be analyzed to the story and the discourse from a narratological perspective, and these two elements are separated by parole and langue from semiological perspective. Among these 4-elements, the langue of story can be understood as the major factor to evoke ’nostalgia’, and the langue of discourse was also 'deviation' on the experience in theme park. Two frameworks were established as a design methodology. The first framework shows that the structure of narrative elements in theme park was linked to design process and the real theme park types. The second framework explained how visitors experienced the theme park narrative. Finally, empirical case study indicated that competence of narrative structure in theme park and elaborate expressions of elements were the most important factor for repeat visitation. These findings indicated that theme park narrative is the basic aspect of theme park and could be achieved by design.

The purpose of this paper was to examine how Korean learners of English express temporal information and use the tense-aspect to report chains of events in their narrative discourse. Ten adults Korean learners of English participated (two intermediate-level and eight advanced-level learners). The participants were asked to produce a Korean-telling-story task first and then a English-telling-story task. Twenty oral narratives were collected and grounding analysis was performed on all narrative texts. The findings of the study revealed that Korean learners tended to use the past tense to express completed actions in the foreground and the non-past to comment on actions or to evaluate the events in the background. This supports that grounding of narrative discourse may influence the distribution of tense-aspect morphology. Further studies should observe the function of the background and its influence on tense-aspect in narratives with a large-scale data.

게임에서의 스토리는 상호작용 할 수 있는 인터렉티브 스토리텔링이라는 점에서 사용자의 몰입 을 유도한다. 이러한 인터렉티브 스토리텔링은 기존의 이야기의 선형 구조와 달리 비선형 구조를 띄고 있기 때문에 기존의 서술구조와는 다른 서술구조가 연구되어왔다. 크게 사건 중심인 트리 기반 서술구조, 제약 기반 서술구조, 캐릭터 중심인 캐릭터 기반 서술구조가 있다. 트리 기반 서 술구조는 HTN, HSP등 여러 알고리즘으로 발전되었고, 분기가 많을수록 트리의 크기가 커진다는 단점과 이야기의 자유도가 떨어진다는 단점이 존재하였고, 캐릭터 기반 서술구조의 경우 사건이 아닌 캐릭터를 설계한 다음 캐릭터가 자유롭게 행동하게 하여 이야기를 진행하는 방식으로 사용 자가 몰입하는 대상이 캐릭터라는 점에서 게임에 더 적합할 수는 있지만, 캐릭터의 행동을 세밀 하게 설계하기 힘들다는 단점이 존재한다. 본 연구는 이 중 제약 기반 서술구조를 전체 이야기의 흐름 파악과 다양한 사건전개가 용이하도록 새로운 태그들을 제시하여 재설계하였다. 새롭게 제 시된 <event>라는 태그는 이야기의 흐름 파악을 쉽게 할 수 있게 하고, <plot>이라는 태그는 다 양한 사건전개가 용이하도록 설계되었다. 제안하는 서술구조를 이용하여 예시로 이솝우화 중 토 끼와 거북이에 적용하였다.

The story in the game induces the user 's immersion in that it is an interactive storytelling. Since the interactive storytelling has a nonlinear structure unlike the existing linear structure of the story, a narrative structure different from the existing narrative structure has been studied. There are largely case-based tree-based narrative structure, constraint-based narrative structure, and character-based narrative structure. Tree-based narrative structure has developed to various algorithms such as HTN and HSP. There are disadvantages that the size of tree becomes larger as the number of branches increases and that the degree of freedom of story is lowered. In the case of character-based narrative structure, this narrative structure designs the character, not the events, and lets the character to act freely. it could be more suitable for the game because the player immerses in the character. There is a disadvantage that it is difficult to design the behavior of the character elaborately. This study redesigned the constraint - based narrative structure by presenting new tags to facilitate the understanding of the whole process of the story and various events. The newly proposed <event> tag is designed for easier understanding of the story flow, and the <plot> tag is designed to facilitate development of various events. This study applies the suggested narrative structure to “The Tortoise and the Hare“ in Aesop's fables as an example.

The paper provides an in depth of examination of the narrative structure of J. M. Coetzee's Foe. First of all, Coetzee writes back to Robinson Crusoe, written by a British author, Daniel Defoe in the eighteenth century. In writing back to Robinson Crusoe, Foe appropriates Defoe's rhetorical devices such as an autobiographical element, journal and memoir. The appropriation is shown from the section one to the section three. Most significantly, the appropriation aims at (de)constructing the reliability of the novel in the early eighteenth century. It is, however, notable that the strategy of writing-back in Foe is not that simple. That is to say, Coetzee essentially questions the reliability of Robinson Crusoe within the postcolonial context. The subversion of the reliability begins with the third person female narrator, Susan Barton, instead of the first person narrator, Robinson Crusoe in Daniel Defoe's Robinson Crusoe. Under the gaze of Susan Barton, the reader finds that Defoe's rhetorical devices are not applied to the racial other, Friday. By pointing out the problematic representation of Friday, Foe maximizes the subversive effect of the writing-back strategy. In particular, Coetzee's idea on representing the other goes a step further. For him, Susan Barton also cannot speak of the other as well as for the other. The disappearance of the reliable narrator, Susan, in the last section reveals the radical idea of Coetzee on writing and representation. The ghostly voice of the last section questions the reliability and narrative of Susan Barton. The ghostly narrator clearly tells that any narratorial subject cannot be free from the reliability in terms of representing the other. In sum, J. M. Coetzee's Foe takes advantage of the effect of the appropriation and subversion as a postmodern parody of Robinson Crusoe. And at the same time, the narrative structure of Foe offers the reader a chance of reconsidering its textual limitation as well as a counter-discourse to the racial contract embedded in colonial narratives.

It is difficult to discuss narrative structure in the texts of German writer W. G. Sebald (1944-2001), because he tries to deconstruct conventional narrative theories. This means that his writings tend to reject traditional narratology, whilst he prefers the collection of fragmentary memories and facts out of different resources rather than a traditional storytelling according to deliberate plots. In terms of translation, narrative structure in Sebald’s texts causes therefore plenty of problems with regards to tense, mode, viewpoint etc.: In his extremely long sentences, for example, which go almost beyond the limit of German grammar and approach to the impossibility of translation, various narrators who are often unimportant, anonymous, and already forgotten like in oral history, appear in a single sentence. As a result, translator takes part in searching for unidentified narrators and finding out their own voices as well as their stories which had disappeared and been erased in history. In this aspect, translator could contribute not only to literary criticism, as Marilyn Gaddis Rose argues, but also to cultural intervention and cultural criticism as well, whilst he could (re-)interpret their narratives based on his re-reading and re-writing.

This study proposes a structured story generation system based on traditional narrative theory using a large language model (LLM). The proposed system sequentially constructs a three-act structure and a 15-step narrative structure of "Save the Cat!" based on the log line, character information, and genre input by the user, and each step is embodied through hierarchical generation and prompt chaining. In particular, when user modifications occur, the changes are designed to be automatically reflected in the upper and lower stages to maintain narrative consistency and logic. To verify the effectiveness of this system, human-written narratives, single-prompt-based generative narratives, and generative narratives from the proposed system were compared and evaluated, yielding excellent results in terms of narrative structure fidelity and logic. By demonstrating the structural controllability of LLM-based story generation, this study suggests applicability in the field of digital content production in the future.

환경갈등은 지역주민들의 장소 경험이 압축적으로 이루어지는지역의 핵심 사건이며 로컬리티 기록화에서 우선적으로 추진해야할 영역이다. 이 연구는 밀양 고압 송전탑 건설 사례를 중심으로지역주민이 10년에 걸쳐 경험한 환경갈등을 기록화하기 위한 방안을 제시하기 위한 것이다. 갈등사건의 기록화는 이해관계자들의입장과 관점에 대한 이해 없이 추진하기 어려우며, 기록의 수집·기술이 갈등의 내러티브에 따라 이루어져야 한다는 점에서 본 연구에서는 프레임을 고려한 동적 내러티브 구조를 제안하였다. 먼저 환경갈등의 특징을 조사한 후, 환경갈등 기록화의 원칙과절차, 내러티브의 구조와 개발 절차가 포함된 모형을 설계하였다. 갈등 기록화 원칙은 복합적 기록화, 프레임 적용, 동적 내러티브의 구현으로 설정하였다. 동적 내러티브가 형성될 수 있는기록화의 구조는 ISO 23081의 메타데이터 영역을 응용하여 설계하였으며, 내러티브 설계 절차를 제시하였다. 이 모형을 밀양 송전탑 건설 갈등 사례에 적용하여 그 유용성을 살펴보고자 하였다. 갈등사건의 전개과정, 쟁점, 이해관계집단, 갈등의 성격 등을 분석한 후 갈등의 전체 내러티브 및 프레임을 설정하였다. 기록생산 맥락에 대한 기술(사건, 법규, 이해관계자)과 기록 기술을 연계하고 각 사건 기술에 사건을 둘러싼 대립되는 프레임을 추가함으로써 디지털 환경에 적합한 중층적 내러티브를 형성하고자 하였다. 이 모형의 장점은 사건, 이해관계자, 법규에 대한 정보를 체계적으로 축적함으로써 기록 생산 맥락정보를 풍부하게 제공하고, 다중 개체를 이용한 동적 기술 구조를 채택하고 있어서 정보의 갱신과 추가, 연계가 지속적으로이루어질 수 있다는 점이다. 이러한 방식의 환경갈등 기록화는공동체의 집단기억 형성을 지원하며 비선호시설의 입지 사업을 추진할 때 지역민의 가치와 인식을 고려한 거버넌스 행정이 이루어지도록 촉구하는 데에 기여할 수 있을 것이다.

Documenting environmental conflicts will be a priority target fordocumenting localities, because those conflicts are critical events that makeintensive ‘place experiences’ of local residents. This study is to design anarrative structure for documenting conflicts in the process of TransmissionTowers Construction in Miryang. This study begins with analysing the characteristics of environmentalconflicts, and draws a conflicts documentation model including basic rules,narrative structure and development process. Basic rules are set up asmixed documentation of memory and evidence, application of ‘frame’, anddynamic description. Based on the rules, this study suggests a dynamic andopen narrative framework adopting the metadata model of ISO 23081. This model is applied to documenting Transmission Towers ConstructionConflicts in Mi-ryang. The full narrative and ‘frame’ of the conflicts are setafter analysing development and issues of the conflicts, stakeholder, andproperties of each conflict problem. Records descriptions are related to thecontext(each event occurred in the conflicting conditions, mandates, andstakeholder) descriptions to make multiple narratives in digital environments. Event description contains elements for articulating the ‘frame’ of each party of the conflict. The merits of this model are; i) to accumulate the adequate contextinformation systematically by adopting dynamic narrative model, and ii) toacquire the new items and connect them to related items easily andconsistently through multi-entity description. This documentation model ofenvironmental conflicts may support to shape the collective memory ofcommunity, and to achieve good governance by managing conflicts in theprocess of locating non-preferred facilities with due regard to values andperceptions of residents and communities.

본 연구는 3월 20일부터 시작되고 4월 16일 종료된 미국의 이라크 공습에 대한 우리나라 TV 보도의 경향과 그에 따른 의미구조에 대해 분석하였다. 그러면서 동시에 TV 보도의 영상화면의 기능과 역할에 대해 살펴보고자 하였다. 이와 같은 연구목적을 가지고 다음과 같은 연구문제들을 설정하였다. 즉, ‘한국TV 방송 보도의 미국과 이라크 전쟁에 대한 보도경향은 무엇인가’‘보도경향의 서사구조는 어떠한 담론구조와 의미구조를 지니고 있는가’‘이러한 구조들이 함축하는 바는 무엇인가’등이었다. 이들 연구문제들을 해결하기 위해, 우리나라의 대표적인 방송 3사 - KBS, MBC, SBS -의 주요 보도방송을 분석대상으로 선정하였다. 방송의 뉴스 아이템들은‘언어기사’와‘영상화면’으로 구분되었고, 이들 각각은 다시 포맷, 내용 및 서사구조들로 나누어 분석되었으며, 각각의 세부내용들은 다시 기호학과 담론 분석 방법으로 분석되었다. 본 연구의 결과, 우리 TV는 이번 전쟁을 미국의 입장에서 미국의 시각에서 보도하고 있으며, 상대적으로 이라크나 이라크인의 입장이나 시각은 별로 반영하지 못하고 있음이 드러났다. 미국의 공습과 함께 시작된 보도는 자연스럽게 미국과 영국 연합군의 공습계획과 전략을 근간으로 하여 보도하였으며, 그러므로 전장과 전투 장면들이 주로 보도되는 경향을 띠게 되었다. 나아가 양 국가의 화력과 무력의 비교가 중심이 되고, 이것들이 그래픽으로 영상화됨으로 인해 전쟁이라기보다는 인터넷 전쟁게임 같은 인상을 심어주게 되었다. 또한 학술적인 측면에서 보면 TV보도의 영상화면은 일정한 서사구조를 지니고 있으며, 언어의 체계 같이 배치되고 구성되어 있음이 밝혀졌다. TV 보도의 영상화면은 일반 영상과는 달리 의미구속력이 강하고, 의미의 표출이 체계적인 관계 속에서 구조화되고 있음을 발견하였다.

The purpose of this study was to investigate coverage patterns of Korea TV on the U.S.-Iraq War, and its narrative structure and meaning structures. It was also interested in discourse structure about this war as well as narrative structure of pictures of TV in covering it. In order to attain this kind of purposes of this study, the author constructed research questions as follows; ‘what were coverage patterns of Korea TV on the U.S.-Iraq War?’, ‘what kinds of narrative structure such kinds of coverage patterns had?’, ‘what kinds of discourse structure the coverage patterns had?’, ‘what were meanings of these coverage patterns in Korea society?’ For the purpose of solving these research questions, news items about this was from three main TV stations were collected as main analysing objects. They were also divided into ‘linguistic representation’ and ‘pictural representation’. Each of these representations were analysed with semiotic research methods as well as dicourse research methods. As results of this study, it was firstly found that Korea TV tended to cover this war on the basis of American perspectives with American news values. Secondly, it did not reflect Islamic perspectives with Islamic news values. Thirdly, it just followed the route of U.S.-U.K. coalition armies’ attacks, and focused on battle fields and fighting situations between U.S. and Iraq armies. Fourthly, it tended to show such kind of battle fields and fighting situations with image and pictures so that it could transform a war into a kind of internet war game. In addition, through this study, it was found that pictures of TV news had a certain of narrative structure with linguistic grammar. The TV picture had a power of defining meaning of news coverage with limited range and systematic structure.

Storytelling in games is different from storytelling in other media in that it must interact with the user. The existing storytelling engine is not appropriate for interactive storytelling in games, so interactive storytelling engine is developed to supplement this shortcoming. However, the interactive storytelling engine uses methods that manages game events. Thus it is not appropriate for games with stories that are composed mainly of characters. This research examines the defects to propose improvement suggestions to apply the existing storytelling engine to games. This would be useful in developing stories that interact with the player in games.