This study investigates the difference between popular genre of mobile games and that of online games, and also the impact of affiliation with social network platform on the market performance. The results show that three genres such as action, puzzle, and RPG occupy a higher market share than the other genres. The structure of the mobile game market is more competitive than that of the online game market but game applications developed by top four developers - CJ E&M, NHN, com2us, WeMade - have been holding high ranks for months. It implies that the structure of the mobile game market is gradually becoming more concentrated. As the market competition increases, the marketing cost for acquiring recognition and the commission fee paying for platform have been increasing accordingly. Consequently, mobile game developers are encouraged to enhance the quality of their games as well as to devise diverse platform-marketing strategies in order to accomplish stable market performance.

홍콩에 거주하고 있는 대부분의 외국 학생들은 작문이 중국어를 학습할 때 겪 는 가장 큰 어려움이라고 말한다. 최근 장르 교육법(genre teaching approach)은 학습자의 읽기 능력과 작문 능력을 신장시키는데 있어 여러 많은 방면에서 활용 되고 적용되고 있다. 이에 따라 본고에서는 장르 교육법을 중국어가 모국어가 아 닌 학생들을 대상으로 시범적으로 운영하여 그들의 글쓰기 능력을 측정하고자 한 다. 이를 위해 홍콩대학에서 운영중인 “非華語 학생을 위한 중국어 학습 계획”에 참여하고 있는 학생들 중 한 반을 선택하여 그들을 연구 대상으로 삼아, 수업 관 찰과 심층 인터뷰, 학습 전후의 문장 분석과 작문 능력을 비교하여 봄으로써, 두 번의 실험을 통해 우리는 학생들의 글쓰기 능력에 효과가 있는가를 살펴 볼 수 * 香있었다. 이 연구를 통해 중국어가 모국어가 아닌 학생들은 장르 교육법을 통해 교육 받 기 전과 후에 2번에 걸친 글쓰기 능력에 큰 차이가 있음을 볼 수 있었다. 교육 받기 전의 작문은 그 체제가 비교적 산만하였으며, 서술 문장의 문체적 특징이 무 엇인지도 보여지지 않았다. 반면 교육 후에는 그 체제가 비교적 형식을 갖추었고, 서술 문장의 문체적 특징도 전개되어 있었다. 마지막으로 학생들과의 심층 인터뷰 를 통해 우리는 장르교육법이 중국어가 모국어가 아닌 학생들의 중국어 작문 능 력을 향상 시키는데 도움이 되었다는 것을 확인할 수 있었다.

This study aims to examine the effectiveness of genre-based in-class L2 writing instruction on Korean middle school students' writing ability and their perception change toward L2 writi ng. The research was conducted with 595 middle school students in the third grade from two co-ed schools in Gwangju Metropolitan City, Korea. Five sessions of writing instruction using a dialY genre over five weeks were provided to an experimental group, while no explicit writing instruction was provided to a control group. The experimental group was exposed to 13 writing sample texts, analyzed and identified the characteri stics of the target genre, and then constructed a diaty text in collaboration with their peers. Following the treatment, both groups were required to write a diaty ently in 40 minutes atld the students' writings were rated on content, organization, and language use. The results showed that only the experimental group, provided with explicit genre-based L2 writing instl·uction, showed statistically significant improvement in each categOlY in the post-test. In addition, a set of questionnaires and interview data revealed that the participants' attitudes and perceptions toward L2 writing were positively affected.

For the vast majority of non-Chinese speaking (NCS) students in Hong Kong, writing is the greatest difficulty they encounter when studying Chinese. Thus, giving support to improve NCS students’ Chinese writing is currently urgent. In recent years, Genre Teaching Approach is a widely used teaching method to improve students' reading and writing skills. This study attempted to use Genre Teaching Approach to teach NCS students to learn narrative writing. The researchers selected one class of students who participated in the Student Support Programme (SSP) in the University of Hong Kong as research participants. Through classroom observation, interviews and text analysis of students' pretest and posttest essays, we explored the effectiveness of Genre Teaching Approach for improving NCS students' writing skills. This study found that there was a significant difference between the pretest and posttest narrative writing performances of the NCS students. Before Genre Teaching Approach was adopted in teaching, their composition structures were unorganized and did not exhibit the stylistic features of narrative writing. But after they were taught by Genre Teaching Approach, their compositions were well-structured, and showed the characteristics of narrative writing. Finally, according to the in-depth interviews with the students, we could further confirm that Genre Teaching Approach helped to improve NCS students’ Chinese writing ability.

최근 교육과정에 있어서 의사소통능력이 강조됨에 따라서 듣기, 말하기가 특히 강조되는 반면, 읽기와 쓰기 즉, 문자언어에 관한 학습능력 역시 같이 향상되고 있는지에 대해서는 논란의 여지가 많았고, 학교단위 수준에서 보면 오히려 부정적인 견해도 많았다. 이것은 알파벳, 단어, 문법, 구문, 독해로 이어지는 기존의 일반적인 상향식 학습의 폐해로 여겨지기 때문에, 문자언어에 미숙한 중학생이라 할지라도 텍스트 전체로부터 접근하는 하향식 읽기 방법을 접목할 필요가 있다. 글의 전체적인 구조와 전개방식에 대해 배경지식을 가진다면 읽기가 훨씬 수월해 질 것이기 때문이다. 쓰기의 경우에도 빈칸 채우기나 문장 단위의 통제되거나 유도된 수준에 그치는 경우가 많고, 실생활에 필요한 자유 작문 형태의 쓰기 학습은 소홀히 다루어지고 있는 것이 현실이다. 이 문제 역시 영어교사들이 자유 작문을 시도해 볼 신뢰성 있는 틀이나 형식이 없기 때문에 그 필요성을 인정하면서도 실제로 수업에서 적용키 어려운 점이 있었다. 이 같은 상황을 학생과 교사 입장에서 개선할 수 있는 효과적인 방법으로서, EFL(English as a Foreign Language) 상황 하에서 읽기와 쓰기를 체계적으로 연계시킨 좀 더 새로운 학습방법이 고안될 필요가 있었다. 본 논문은 비교적 최근의 이론인 과정-장르 중심 접근법에 이론적 근거를 두고, 장르별로 텍스트의 전체적인 구조와 언어적 특징을 구별하고, 이것을 쉽게 도식화한 스켈레톤 다이어그램을 그려 봄으로써, 읽기와 쓰기에 동시에 효과적인 새로운 접근법을 구안하였다.

심포니 콘체르탄테는 고전시대의 전성기인 18세기 후반에 등장한 기악음악으로 두 명 이상의 독주자와 오케스트라를 위한 다 악장 구성의 작품이다. 이 장르는 공공음악회가 활성화되어 있었던 프랑스의 파리를 중심으로 1770년경부터 발달하였으며, 초기 작곡가들은 프랑스의 작곡가들과 만하임 악파들이였다. 이 장르는 관현악 작품에서도 독주자들의 화려한 연주 기교를 보고 싶었던 당시 청중들의 취향이 반영되어진 것으로, 거의 대부분이 큰 음악회장에서 연주되었다. 따라서 당대 뛰어난 기술을 가진 연주자들과 활발한 활동을 하던 당대의 작곡가들은 파리를 중심으로 활동하였고 작품을 출판하였다.본 논문에서는 고전의 협주곡에 비하여 상대적으로 낮은 관심을 받고 있는 심포니 콘체르탄테에 관한 첫 번째 연구로, 먼저 18세기와 19세기의 이론서에서 나타나는 용어의 정의와 그 쓰임새에 관하여 살펴보고, 심포니 콘체르탄테 장르의 창시자로 알려진 프랑스 작곡가 다보의 작품과, 가장 많은 심포니 콘체르탄테를 남긴 작곡가 깜비니의 심포니 콘체르탄테 작품을 선정하여 그 첫 번째 악장을 분석하여 그 특징을 살펴보고, 또한 동 시대에 작곡된 모차르트의 심포니 콘체르탄테 작품도 분석하여 그 구조적 특징을 비교하여 본다. 이러한 분석적 비교를 통하여 고전을 대표하는 비엔나 악파 모차르트의 작품과 프랑스 작곡가들 작품 사이에서 발견되는 특징은 무엇이며, 공통점과 차이점을 구분하여 악곡 장르에 대한 보다 명확한 설명을 제공하는 것이 이 논문의 목적이다.

이 연구에서는 장르 분석 및 레지스터 분석을 통해 중학생들의 지구과학 주제 글쓰기의 언어적 특징을 분석하였다. 연구 자료는 7, 9학년 학생들을 대상으로 '지구 온난화'와 '암석의 분류' 주제 글쓰기를 실시하여 얻은 학생들의 글쓰기를 대상으로 하였다. 연구 결과는 다음과 같다. 첫째, 학생들은 장르별 글쓰기에 익숙하지 않았으며 특히 논설장르 글쓰기에 많은 어려움을 보였다. 둘째, 내용과 논리관계의 특징으로 정의나 분류와 같이 한 부분을 다른 부분과 관련시키는 관계적 술어보다는 행동 및 하는 것을 의미하는 현상적 술어와 부가적 논리 관계가 많이 나타났다. 셋째, 상호관계적 표현의 특징으로 글 속에서 글의 주체, 글쓴이의 감정, 주관적 의견들이 많이 드러났으며, 학생들은 자신의 생각에 대해서 확신을 가지지 못하고 불확실성을 드러내었다. 넷째, 텍스트 구성의 특징으로 대부분의 학생들이 부가 접속사를 통해 단편적인 정보들을 나열하였으며, 체계적이며 논리적인 글을 쓰는데 익숙하지 않았다. 연구 결과를 바탕으로 과학적 소양의 함양을 목표로 하는 과학 학습에서 과학 글쓰기가 강조되어야 하며 국가 교육과정차원에서 체계적인 계획뿐만 아니라 과학 글쓰기에 대한 교사들의 인식이 향상되어야 함을 논의하였다.

The purpose of this paper is to examine the effect of the genre-based approach on ESL children’s writing both at school and at home. Among genre writing, narrative writing was chosen for more detailed text analysis based on systemic functional grammar (SFG). Apart from their increasing control of schematic structure and other linguistic features, the ESL children expanded their range of process types so remarkably that various experiential meanings were constructed in each child’s narrative writing style. This study found that the genre-based approach helped ESL children to take their first steps into the world of narrative writing by explicitly supporting its schematic structure and other elements. The ESL children seemed to develop their own styles of narrating using the same genre-based approach at school, which proves a paradoxical truth in the sense that the genre critics often point out the lack of individual creativity due to the ‘stifled’ genre pedagogy. Creativity, particularly in the case of the two ESL children, came after jumping on the ‘springboard,’ which is a proper support system in their genre writing.

'Naturalness'의 경우 화질 평가에 있어서 중요한 요인으로 여겨진다. 'Naturalness'는 다른 감성이 부여되는 이미지의 컨텐츠에 의존하는 중요한 요인이다. The Image Quality Circle은 한 단계에 해당하는 'ness' 단계를 두 가지로 나누었다. 두 단계 중 하나는 lightness, colourfulness, hue and contrast와 같은 지각 속성을 예측하는 단계이다. 다음 단계는 이미지의 컨텐츠에 따른 SSE를 찾는 단계이다. 이 연구에서 이미지들은 TV장르로 분류해 놓았다. 각각의 이미지들은 lightness, colourfulness, hue and contrast를 단계별로 변형시켰다. 각 변형된 이미지의 화질 점수와 SSE의 점수를 실험 참가자들에게 물었다. 정성적 항목에 7 점 단계의 정량적 평가를 실시하였다. 각 장르에 따른 세 가지 SSE를 변수로 이용하여 화질 평가 모델을 수립하였다. 생생함 (vividness)은 모든 장르에 공통으로 존재하는 SSE이고 나머지 SSE들은 모두 모델에서 독립변수로 취급하였다. 그 후 색 속성을 이용하여 각 장르에 따른 생생함을 예측하는 모델을 수립하였다. 생생함은 각 장르에 따라 의미가 다르며 화질 평가와 자연스러움(Naturalness)룰 연결하는 중요한 요인이다. 각 장르마다 생생함이 다른 의미로 여겨지기 때문에 각 장르에 생생함을 최적으로 표현하는 색 속성 또한 장르마다 다를 것이다.

Kim, Jun-Geun(Gisan) was a late 19th century Chosen dynasty painter who created numerous genre paintings for West European clients in the newly opened treaty ports of Wonsan, Busan and Inchon. The treaty ports in the late 19th century Chosen represented of the crossroads the economy, values, and the institutions of the West European powers. In particular, the agriculture-based economy, Confucianism, and land-owner noble class started being eroded by a commerce-based economy, the values of Christianity, West European institution, and a new class of people who amassed wealth from commerce. As Kim, Jun-Geun’s paintings were created for sale to West European clients, they exhibit characteristics that are distinct from the traditional genre paintings in terms of presentation style and the selection of the subject matters. The export genre painting originated in the 18th century around Guangdong, China. Broadly, there are two styles of genre paintings: the Guangzhou style and Ningbo style. Kim, Jun- Geun's paintings resemble the Ningbo style. The Ningbo style tends to highlight the main subjects, form an album of small paintings, and provide a simple treatment of the scenes without the background. Kim, Jun-Geun's paintings cover most aspects of life of common people of his time, ranging well beyond the subjects matters of the traditional genre paintings. His subject matters include the scenes of funeral, folk games, Buddhist and ancestor worship, prison and punishment, shaman custom, debauchees, government officials' formal trips, beggars and handicapped, etc. Many of the subjects are the neglected and the oppressed of the society. And he presents in detail the dress and its ornament that the subjects wear, and all the utensils and things around them. Besides, his subjects' faces are generally expressionless, and their postures are stiff; as such, the feeling of liveliness or movement is lacking. It may be the results of Kim, Jun-Geun's taking the other perspective, namely of his West European clients, rather than his own. The adoption of the other perspective may in turn be a product of the Social Darwinism and the new sense of values that accompanied the infusion of Christianity and West European institutions. Kim, Jun-Geun's portrayals of his subjects appear to reflect the attributes with which the West European Orientalists' of the period characterized the people of the Far East, namely, backwardness, barbarity, irrationality, violence, and mysticism.

This paper examines four genre paintings on the subject of child education by Jean-Baptiste-Siméon Chardin(1699-1779). The Governess, The Diligent Mother, Saying Grace, and The Morning Toilette garnered critical attention after they were exhibited in the Salon from 1739 to 1741. After the exhibition, the paintings were made into prints and frequently sold to members of the bourgeois class in Paris. The iconographical details of Chardin’s genre paintings have, thus far, been compared to Dutch genre pictures of the seventeenth century. Further, most studies conducted on Chardin’s paintings focus on formal analysis rather than the historical and social contexts. Through attempting social-contextual readings of Chardin’s educational series, this paper argues that the significance of Chardin’s painting series of child education lies in his representation of the ideal French bourgeois family and the standard of early childhood education in the eighteenth-century French Enlightenment period. In each of the four child education paintings, Chardin depicted a mother with children in a domestic space. Even though this theme derives from traditional Dutch genre paintings in the seventeenth century, the visual motifs, the pictorial atmosphere and the painting techniques of Chardin all project the social culture of eighteenth century France. Each painting in the child education series exemplifies respectively the attire of a French gentlemen, the social view on womanhood and the education of girls, newly established table manners, and the dressing up culture in a ‘toilette’ in eighteenth century France. Distinct from other educational scenes in previous genre paintings, Chardin accentuated the naive and innocent characteristics of a child and exemplified the mother’s warmth toward that child in her tender facial expressions and gesturing. These kinds of expressions illustrate the newly structured standard of education in the French Enlightenment period. Whereas medieval people viewed children as immature and useless, people in the eighteenth century began to recognize children for their more positive features. They compared children to a blank piece of paper (tabula rasa), which signified children’s innocence, and suggested that children possess neither good nor bad virtues. This positive perspective on children slowly transformed the pedagogical methods. Teaching manuals instructed governesses and mothers to respect each child’s personality rather than be strict and harsh to them. Children were also allotted more playtimes, which explains the display of various toys in the backgrounds of Chardin’s series of four paintings. Concurrently, the interior, where this exemplary education was executed, alludes to the virtue of the bourgeois’s moderate and thrifty daily life in eighteenth century France. While other contemporary painters preferred to depict the extravagant living space of a French bourgeoisie, Chardin portrayed a rather modest and cozy home interior. In contrast to the highly decorated living space of aristocrats, he presented the realistic, humble domestic space of a bourgeois, filled with modern household objects. In addition, the mother is exceptionally clad in working clothes instead of fashionable dresses of the moment. Fit to take care of household affairs and children, the mother represents the ideal virtues of a bourgeois family. It can be concluded that the four genre paintings of child education by Chardin articulate the new standards of juvenile education in eighteenth century France as well as the highly recognized social virtues between French bourgeois families. Thus, Chardin's series of child education would have functioned as a demonstration of the ideal living standards of the bourgeois class and their emphasis on early childhood education in the French Enlightenment period.

This study intends to consider about the food culture during the latterly Chosun Dynasty through the genre paintings which are depicted realistically about the total food life figures for example not only the foods, but also that people who eat and drink the food and eating implements, eating methods. There are 9 pieces of works Kim hong-do's which are the best appraisal on the incorporated Korean emotion and on the real life of general public. Those are selected for this study's characteristics through the literature consideration. The characteristics of the tableware pottery and food culture are following things. The first is a white porcelain's development and popularization. In the latterly Chosun Dynasty period, the development of the agriculture and commerce made been connected to the affluent food cultures, these made increase the porcelain's use of upper classes and these made been connected to the development of the porcelain's cultures. The second is the development of various pottery with a dark brown glaze manufactures. The development of agriculture and economy power made bring the development of the kinds of sauces and Kimchi culture with an inflow of foreign crops and these made making the large an earthenware pot or jar which could store something during the long time. The third is the development of the small dining table on the eating the bread of idleness. In the Chosun dynasty period, the food style was been unified to he eating the bread of idleness and been lowered. These made developed of various small dining table through the underfloor heating system's generalization. The fourth is the development of the spoon with the soup culture. It is the East Asia called that the spoon culture boundary, this show the characteristic that we use the spoon mainly compare with another countries. Finally, it is universal use of the fixed quantitative implements. They could live quantitative life with the scales which are jar of soy sauce, liquor jug, jar, scoop leading a set of tableware.