This paper offers a diachronic examination of how the love story between Zhangsheng and Yingying in Yuanzhen‘s novel “Yingying zhuan” has evolved through different literary conventions. “Yingying Love Story” has remained a beloved narrative, enduring from the Song to the Jin-Yuan periods and continuing to be performed on stage today. The interplay between external factors such as societal and cultural backgrounds and internal changes in literary conventions allows for an understanding of the modified narrative of the “Yingying Love Story” and sheds light on the processes of literary creation, reception, and adaptation. Additionally, it provides a more nuanced understanding of the genre characteristics across different epochs. The transformation of the ending of the “Yingying Love Story” from a tragic conclusion where the woman is forsaken to a happy ending where their love prevails reflects the societal and cultural contexts of the time. In particular, the empathy shown by Ci writers of the Song dynasty towards Yingying and the non-defensive attitude towards Zhangsheng played a crucial role in shaping the evolution of the story's conclusion. Subsequent urban commercial development and the flourishing of private literature altered audience expectations of Yingying, naturally propelling the original tragic ending toward a happy resolution.

Due to the development of the internet and communications technology, the media market has undergone significant changes in the 2000s. In the past, when the types of media were not diverse, media content was mainly consumed through TV, radio, newspapers, etc., but as varied, it allowed users to watch the content anytime and anywhere. ‘Snack Video’ which is produced in a short length and consumed in commuting time and leisure time, and ‘Snack Culture’ which is a popular lifestyle trend of consuming short-form cultural content, is now widespread. The representative content of snack content is video clips. Various of media provide video clips, such as portal sites, SNS, and TV programs. YouTube is effective in increasing purchases than the other channels. Over-The-Top (OTT) is another pillar of the new media market, which has emerged with the development of the internet and communications technologies.

본 연구는 조선 후기 풍속도를 바탕으로 조선 후기전문 유랑 연희패들이 국가무형문화재로 지정된 남사당놀이 여섯 종목 형 성에 미친 영향을 살펴보았다. 연구 방법은 문헌 연구를 중심 으로 이루어졌으며, 연구 결과는 다음과 같다. 첫째, <기산풍속도>에서 꼭두각시놀음은 ‘박첨지 놀음’과 ‘산대패 노는 모양’으로 기록되어 있다. 이때, 꼭두는 후뇌를, 각 시는 어린 소녀를 의미한다. 남사당놀이에서는 꼭두각시놀음을 ‘덜미’라고 부르는데, 인형의 목 뒷덜미(후뇌)를 잡고 공연하는 특징이 반영된 용어이다. 둘째, 〈봉사도〉와 〈알성시은영연도〉에는 ‘땅재주’와 ‘대접 돌리기’가 한 무대에서 동시에 공연되는 모습이 담겨있다. 즉, 이 연희들은 민간 부분뿐만 아니라, 국가의 중요 행사에서 공 연되는 놀이로 대중들의 인기를 받는 것으로 보인다. 남사당놀 이에서 ‘땅재주’는 ‘살판’으로, ‘대접 돌리기’는 ‘버나’로 명칭 된 다. 셋째, 줄타기는 연희 전에 고사를 지내는 특징이 있다. <기 산풍속도>에서 줄꾼은 창배(倡俳) 혹은 창부(倡夫)로 기록되어 있다. 남사당놀이 줄타기는 줄꾼이 여성이라는 특징이 있다. 남 사당놀이에서는 줄타기를 ‘어름’이라고 한다. ‘줄-어름’이란 단 어에서 ‘줄’이 생략된 형태로, ‘어름’이란 ‘(줄을) 탄다’는 ‘보삭 (步索)’의 의미이다. 넷째, <기산풍속도>에는 ‘탈놀이’의 전체적인 연희 분위기와 각 탈의 특징을 확인할 수 있는 다양한 도상이 존재한다. ‘탈놀 이’는 야간에 공연되는 특징이 있다. 남사당놀이에서는 ‘탈놀이’ 를 ‘덧뵈기’라고 부르고 있으나, 1960년대는 ‘덧보기’로 지칭되어 있으며, 해학적이고 사회 풍자적인 내용으로 구성되어 있다. 다섯째, 풍물놀이는 농악과 관련 있는 부분이다. 조선 시대 ‘사당’은 여성, ‘거사’는 남성을 의미한다. <기산풍속도>의 화제를 통해서 보면, 사당패는 여성 중심의 연희패였으며, 이후 남 성 중심 연희패가 생기면서 남사당패가 형성된 것을 알 수 있 다. 또한, 풍물 연희 중에 하나로 펼쳐지는 ‘무동놀이’의 '무동' 의 의미는 어깨 위에 올라가서 연희를 하는 ‘무등’의 의미로 사 용되었다. 즉, 현재 국가무형문화재로 지정된 남사당놀이의 여 섯 종목은 다양한 19세기 유랑 연희집단이 해체되고 통합되는 과정에서 영향을 받아 형성된 것으로 볼 수 있다. 본 연구는 무형문화재로 등록된 남사당놀이 여섯 종목 형성 에 미친 조선 후기 다양한 연희패들의 영향력을 분석한 것으 로, 남사당놀이 여섯 종목의 의미 분석 및 복원을 위한 기초자 료로 활용되는 데 의의가 있다.

오늘날 게임 산업은 지속적으로 성장하고 있는 추세이다. 이런 배경에서 게임 이용자들은 다양한 게임 장르를 경험하고 있으며, 또한 게임 내의 승률을 높이기 위한 다양한 활동에 많은 관심을 가지고 있다. 게임 이용자 들은 자신이 즐기는 게임 캐릭터들의 승률 및 픽률과 같은 다양한 정보들을 인터넷 검색을 통해 수집하고 있 으며, 그에 따라 자신이 즐기는 게임 플레이어의 밸런스에 관해서 많은 관심을 나타내고 있다. 본 연구자는 밸런스 관련 다양한 연구를 탐색하는 과정에서 게임 속의 밸런스를 맞추는 기준이 있다면, 또한 그 기준에 대 한 예측이 가능하다면 그 기준을 중심으로 이용자들의 다양한 밸런스 패치 활용 및 게임 전략 수립에 도움이 될 수 있을 것으로 판단하였다. 본 연구에서는 플레이어들의 밸런스 패치가 중요하게 인식되고 있는 MOBA 장르 게임을 중심으로 밸런스 패치 예측 기준을 수립하는 데 초점을 맞추었다. 특별히 밸런스 패치를 진행할 때 캐릭터들의 특성 및 개발자의 패치 코멘트, 그리고 승률 및 픽률 변화에 따른 이후 패치 로드맵까지 고려 할 수 있는 체계를 제시한 점에서 큰 의의가 있다고 볼 수 있다. 이를 통해 개발자는 플레이어들의 밸런스를 더 쉽게 맞출 수 있도록 유도하고, 플레이어는 밸런스 패치를 예측하여 더욱 효율성 있는 게임 전략을 실행할 수 있도록 유도하여 MOBA 장르 게임의 이해관계자 모두에게 도움이 되는 정보를 전달할 것이다.

Many empirical findings of previous studies have suggested a connection between motivational factors and L2 writing. Nonetheless, the impact of motivational factors on the genre-based L2 writing has not gained much attention. The present study explored the extent to which the characteristics of two writing tasks involving different genres interact with a learner’s motivational disposition (regulatory focus) and, further, affect language production of writing. 106 essays collected from 53 university EFL learners were assessed in terms of linguistic complexity and accuracy. 2X2 ANOVA results revealed significant main effects of genre on lexical complexity (lexical variation and MSTTR). More importantly, there were significant interaction effects between genre and regulatory focus on both measures of the syntactic complexity (mean length of T-unit and clause per T-unit) and lexical complexity (lexical density). The findings highlighted the significance of learners’ motivational dispositions in genre writing. Drawing on the findings, some pedagogical suggestions to ensure the effectiveness of writing tasks on L2 development were proposed.

This paper aims to investigate the effectiveness of the process-genre approach on EFL learners’ writing improvement. A total of 48 Chinese college freshmen students participated in this study, and they were divided into high-level (n=20) and low-level (n=28) groups. All the participants were instructed by the same teacher in the College English class for 14 weeks, during which they were taught how to compose in three writing genres: narration, exposition, and argumentation. After comparing the writing scores of pre- and post-tests from both groups, it can be concluded that the processgenre approach is helpful in enhancing the EFL learners’ writing competence because both groups of students had significantly improved their writing abilities. Besides, both group learners attained a salient achievement in expository writing after they were trained by the process-genre approach. Compared with the high-level learners, the low-level learners made larger progress in all three writing genres. It indicates that enough teaching time and teacher’s scaffolding systems are crucial for the learners’ writing development.

The present study examined how writing tasks in high school English textbooks under the revised national curriculum reflected the key writing elements (process, genre, and context) of process-genre based approach. Concerning the latter, the focus was narrowed to audience since it was relatively neglected in writing instruction compared with other contextual factors. For this study, we analyzed 335 writing tasks in ten English textbooks for 1st- and 2nd-year high school students. Results showed that writing tasks largely incorporated the process-genre based approach. However, pre-writing activities mostly scaffolded the organization of ideas, rather than generated them. In the post-writing phase, editing was not targeted in some writing tasks. Both the diversity of genres/subgenres and genre awareness activities were also lacking. In addition, few writing tasks targeted the development of audience awareness through explicit activities. These findings provide pedagogical implications for writing task and curriculum development for material writers, curriculum designers, and practitioners.

본 논문은 콘(Korn)의 3집 앨범「Fallow The Leader」의 수록된‘Freak On a Leash’를 분석곡으로 선정하여 록 장르에서 나타난 스캣에 대해 연구하였다. 연구 방법으로는 재즈에서 사용한 스캣과 본 연구곡에서 사용한 스캣을 비교하여 두 스캣의 공통점과 차이점을 분석하였다. 분석연구 결과 록과 재즈의 장르적 차이점이 있지만 분석곡에서 사용한 기법과 재즈에서 사용한 스캣의 발음적 유사점과 악기 소리를 차용 하여 사용한다는 유사점을 확인하였고 그에 따라 스캣을 사용하였다고 유추할 수 있었다. 콘의 분석곡에서 사용한 기법은 재즈에서 사용하는 스캣으로 특히 록 장르 악기의 디스토션 효과를 그로울링으로 표현하여 장르적 특성에 맞게 변화시켜 사용하였다. 또한 재즈에서 즉흥적으로 사용하는 스캣과 달리 기타의 리프처럼 한마디의 스캣을 일정하게 반복한다는 차이점을 가지고 있었다. 결론적으로 록의 장르적 특성을 스캣의 테크닉과 접목한다면 좀 더 다양한 표현 기법을 확장시킬 수 있다는 것을 결과를 도출하였다.

This study explored the effects of outlining on the summaries of thirty six L2 college students across three text genres and their opinions on the use of outlining in writing the summaries. Over the eight weeks, the students were divided into an outlining group (experimental group) and a keyword group (controlled group) wrote three summaries after reading articles across three genres (e.g. argumentative, expository, and narrative) at two weeks intervals. Additionally, a follow-up questionnaire on the use of outlining in writing summaries was conducted. Data were analyzed by the Syntactic Complexity Analyzer (Lu, 2010) under 14 indices, and the responses to the questionnaire were analyzed by percentages. The results found a statistically significant difference appearing only in the aspect of CT (i.e. clause per T-unit). In addition, a majority of students utilizing outlining for summary writing believed that they were helped not only to understand the contents and the structure of the articles, but to write summaries with their own words. These results have a pedagogical meaning in that outlining can be more efficient for specific reading genres when teaching summarization in L2 classes.

본 논문은 디지털 게임의 하위 장르 분화 양상을 고찰하고 각 양상에 따라 핵심 장르 요소가 변화 하는 특성을 규명하는 데에 목적을 둔다. 디지털 게임의 장르는 변화를 거듭하는 생성적 체계이다. 기존 장르의 핵심 메커니즘을 수정하거나 뒤집으며 등장하는 게임의 하위 장르들은 게임의 장르 체계가 지닌 생성적 성격을 확인할수 있는 대표적 사례이다. 하위 장르 분화를 고찰한 기존의 연구들 이 게임 텍스트의 계보학을 통해 메커니즘의 변화를 추적했다면, 본 논문은 플레이어가 장르 변화를 인지하는 원리에 초점을 두고 해당 양상을 분석한다. 개념적 혼성 이론을 통해 ‘로그라이크’와 ‘메트로배니아’ 장르의 분화 과정을 분석한 결과 로그라이크는 상위 장르와의 프레임 대립을 통해, 메트로배니아는 상위 장르의 프레임 확장을 통해 변별력을 확보한 장르임을 확인했다. 프레임 대립에 따라 분화한 하위 장르의 경우 핵심 장르 요소는 독립성을 확보하고 손쉽게 타 장르와 결합되며, 프레임 확장에 따라 분화한 하위 장르의 경우 핵심 장르 요소는 맥락 의존성을 강하게 드러내며 해당 장르의 맥락을 벗어나 사용되기 힘들다는 특징을 보인다.

본고는 이수경의 원 잡극 도류취와 풍몽룡의 명대 소설 월명화상도류취를 통해 잡극과 소설이라는 두 장르를 비교 분석하였다. 이를 위해 도류취 고사가 민간전설에서 잡극과 소설로 발전해 나간 변천과정에 대해 살펴보았고, 도류취 고사가 주로 수용된 잡극과 소설의 구성과 내용을 비교함으로써 각 장르 간의 유사점과 차이점을 살펴보았다. 두 작품은 불교라는 동일한 종교적 색채를 담고 있지만 잡극 도류취 는 일반대중들에게 연극의 형식으로 불교의 교리도 선양하고 오락적 요소도 제공했던 작품임에 반해, 소설은 파 계승의 이야기를 통해 인간의 본성과 불교의 금욕과 인과응보를 이야기하나 다분히 명대 독 서인의 흥미를 끌기 위한 상업적 의도가 엿보이는 작품이라 평할 만하다. 중국 전통문학의 주도권이 소설과 희곡으로 넘어오기 시작한 남송 이래로 소설과 희곡은 늘 상호 영향관계에 놓여 있었으며, 각자의 창작에 자양분이 되어 중국문학을 더욱 풍부하게 만든 핵심이었다. 따라서 두 장르 간 교차연구내지는 결합연구는 중국 근·현대문학을 이해할 수 있는 중요한 자원이 될 수 있다는 측면에서 본 연구의 의의를 찾고자 한다.

Recently, the business discourse has constituted an important part in the CPT, especially in the Readings. The forms of business discourse includes: Advertisement discourse, reports in the Company meetings and records in interviewing. This essay studies on the Chinese about the business discourse in the reading comprehension and listening comprehension in the CPT. In this essay, advertisement, meeting reports and interviewing notes are the three genres constituting the Chinese about business discourse. The study is basing on the exam questions in the CPT, researching the text dimensions, including the knowledge, ability and the quality.

As a preliminary study for the effective development of a genre-focused English learner corpus, this article aims to investigate most frequent error types and their frequencies in English emails written by undergraduate freshmen in South Korea. Data for this study include English emails of 86 Korean students majoring in humanities or social science in a university located in Daegu. With the rise of Internet, ESL/EFL education has witnessed a growing interest in teaching email usage in composition courses, as it provides a variety of opportunities to evaluate language abilities including interpersonal and pragmatic abilities. The present article revealed that the most frequent error type was concerned with style, such as capitalization (28.7%) and punctuation (7.8%), which was followed by determiner deletion (6.3%), genre convention such as closing (3%), countability of nouns (3%), and verb choice (2.7%). Different error types and frequencies were identified according to different English proficiency levels (Korean SAT and TOEIC), which evidenced the need to include the English proficiency level annotation in the corpus design and to focus on different types of errors in class in accordance with learners’ proficiency levels.

Paik, Kyungsook. 2016. “‘About the Author’ Texts as Promotional Genre in Korean Books”. The Sociolinguistic Journal of Korea 24(3). 191~222. This article is a genre analysis of ‘About the Author’ texts (ATAs) in Korean books. Without any previous investigation, the present study first argues that ATAs duly comprise an independent genre with a promotional communicative purpose shared by Korean discourse community. Then, to answer the question, ‘Why are the ATAs are written the way they are?’, this study identifies ‘moves’ and their ‘strategies’ as well as some stylistic features of those texts. The analysis of 158 ATAs from contemporary Korean books shows that the ATAs are composed with 4 moves; an obligatory ‘Establishing Credentials’ and 3 other optional moves, ‘Giving Personal Information’, ‘Promoting the Book’, and ‘Offering Contacts’, which are realized with different strategies respectively. It also reveals that the move structures of the texts vary but a couple of patterns explain the great majority of all the texts and that the distribution of the strategies within each move also varies across genres of the books. All these moves and strategies are found to serve the purpose of the ATAs; Establishing credentials of the author by presenting the author’s relevant selves. Finally, overall subject deletion, enumeration and frequently occurring adjective clauses were also identified as the distinctive stylistic features.

This study surveys basic costumes and games from the 11 Genre paintings by Junkeun Kim in the book “Korean Games (Stewart Culin 1858-1929)”. The characters in the painting are 3 adult males, 19 boys, and 8 girls. The characters of the general dress-costumes, games and the culture of life from the late 19thCentury in genre painting of Junkeun Kimare are as follow. It is classified as a children’s game and combined game, children’s game classified one more as a boy’s game and the girl’s game from life culture. It also classified the body type and the multi complex type by game character. The boy’s games are kite-flying, spinning tops, playing shuttlecock with the feet, blind man’s bluff, yut (“Four-Stick Game”). Girl’s games are seesaw with board, blind man’s bluff, and marbles. Combined games are mount shoulder, sledge, tightrope walking for men with boy. The strengthen one’s body type were seesaw with board, tightrope walking and the multi complex type were yut (“Four-Stick Game”), kite-flying. The study results on the costumes of 19 boys, 8 girls, and 3adultsin genre paintings are as follow. Boy’s hair was knotted on the back of the head by ‘Dang-ki’ (Korean traditional hair ribbon) with the middle part in his hair which was colored red and bright brown. A ‘Go-kal’ (peaked hat), ‘Cho-lip’ (straw hat), towel hood, ‘Pung-cha’ and ‘I-um’ for winter on their heads. They wore a ‘Po’ (Korean traditional coat) which was ‘So-chang-i’, ‘Do-ru-ma-gi’ and ‘Jun-bok’ (Korean traditional vest). They were green, yellow green, violet, pink. The boys wore ‘Jeogori’(Korean traditional jacket) which were blue, red, violet, green and pink which reached down to the hip line. The variety of colors was more colorful than men’s. The ‘Jeogori’ had mostly ‘Dunggun-kit’ (a round head collar) or ‘Dangko-kit’ (a round head with nose collar), ‘Kal-kit’ (knife shaped collar) with white ‘Dong-jung’ and fit around the neck and ‘Go-rum’ was short and narrow. ‘Baji’ (slacks) were white with a colorful sash (green, blue and red) knotted at the waist, worn ‘Hang-jun’ (shank band). They wore white ‘Beoseon’ (Korean traditional socks) with Jipsin (straw shoes), ‘Mi-to-ri’, black or red, brown ‘Hea’ (leather shoes) and ‘Sulmal’ (sleigh shoes).They wore a green, indigo and red collar ‘To-si’(Korean traditional wristlets) for winter and attached a ‘Yum-lang’ (a Korean traditional pocket bag). The common man wore ‘Jeogori’ (Korean traditional jacket) which were green and white with a white lining that reached down to the hip line with white ‘Baji’ (slacks). The shape and method of wearing modern man’s Hanbok (a Korean traditional costume) remained unchanged. But it istied by another color sash for padding Jeogori in winter games. They wore white ‘Baji’ (slacks) with a colorful sash (red and white) knotted at the waist and wore a ‘Hang-jun’ (shank band).Park C.S. et al. (2009) found the same result in that the basic color was white with various intermediate colors. They wore padded Jeogori and Bajiin the winter while wearing, single a layer ‘Po’ inthe summer. They wore their hair in a topknot (sangtu) with a green color towel surrounding the forehead with ‘Bungezi’ and ‘Got’ on their head in a topknot. They wore ‘So-chang-i’, but they often did not wear ‘Po’ and put on ‘Jipsin’ (Korean traditional straw shoes) or ‘Sulmal’ (sleigh shoes). The girl’s hair was knotted to the back of the head or with partedbraidedhairso that there was a pigtail over each ear tied with a ‘Dang-ki’ (a Korean traditional hair ribbon) with a middle part in the hair. ‘Jeogoei’ was short and fitted with the narrow sleeve of a short and narrow ‘Go-rum’. It has ‘Dunggun-kit’ (a round head collar) or Dangko-kit (a round head with nose collar) with a white ‘Dong-jung’ and fit around the neck.They wore indigo, green, red ‘Jeogori’ matching the color of the ‘Kit’ (collar), ‘Go-rum’ (ribbon), ‘Kut-dong’ called ‘Ban-hoijang-jeogori’ and with a indigo/red, green/red, and red/indigocolor combination.They wore ‘Chi-ma’ (a Korean traditional skirt) colored red, green, and pink that contrasted with the ‘Jeogori’. The right side of ‘Chi-ma’ was covered to the left side and knotted by a waist band stringin the front of the chest and tucked up skirt. The width of ‘Chi-ma’ was adequate. The white inner slacks came from under the skirt. They put on ‘Jipsin’, brown ‘Hea’ (leather shoes). Through genre painting in the 19thcentury, we know a boy’s ‘Jeogori’ and ‘Ba-ji’ were similar to a modern man’s and boy’s ‘Hanbok’ with a traditional method of wearing. We believe that the originality of a traditional costume was an unchangeable characteristic. Girl’s ‘Jeogori’ and ‘Chi-ma’ changed in length and width, and method of wearing; however, the basic shape did not change. The analysis for artist’s genre painting which was ordered by a foreigner and the late of 19thcentury’s children’s costume and game of life culture is useful to match the counters and show how to wear a modern Korean costume used to understand the ‘Hanbok’ and establish a costume of life.

In On-line game,the generation and flow of game money is the most important thing that is how to take user experience, being consumed contents in game. To spend game money has a strong relationship with the game contents, systems and level design. This paper have tried to diagram between game flow and needs point of user for giving guidances developing games through a working-level analyzing. It also can allow us to see a point of game flow with business model for game developer or researcher. I hope that this study helps further studies and researches for a variety of genres and can be served as a foundation regarding the issue

지금까지 멀티미디어 기기들의 대 부분의 콘텐츠 접근성은 사용자 중심으로 특화되어 있지 않고 제작자의 의 도에 집중 하였다. 이런 이유에서 실제 시스템을 사용하면서 생기는 문제점과 이용자의 요구를 분석하기란 쉽지 않다. 물론 일부에서는 사용자 중심에서 UT, UI 연구를 진행 해 오고 있는 상태이다. 또한 일부 많은 혁신을 가 져오지만 아직 기대만큼 많은 효과를 거두지는 못하고 있다. 이유는 개별적인 인간 본연의 욕구와 정서를 해석 하고 적용하기란 쉽지 않을 것으로 생각된다. 본 연구에서는 멀티미디어 환경에서 인간 본연의 심리적인 특성을 분석하고 이해하려고 노력하였으며 스마트 디바이스 의 접근성의 문제점은 단순히 기술, 기능을 향상 시키는 것 이 아니라 인간의 본연의 내면을 얼마만큼 분석 하는지 와 얼마만큼 이해하는지에 따라 사용성에 도움이 될 것 으로 생각한다. 따라서 본 연구는 이러한 사용자가 중심에서 스마트 디바이스를 이용함에 있어서 좀 더 나은 접 근성에 도움 되고자 연구를 진행하였으며 특히 인간의 내면의 감정과 성향에 따라서 어떤 장르의 콘텐츠를 선호 하며 소비하는지를 분석하고 인간과 콘텐츠의 상호작용을 집중적으로 연구 분석하였다. 본 연구 결과로 감정과 콘텐츠 사이의 관계에서 일부 유효한 결과는 기쁜(HAPPY) 감정의 정도에 따라 더욱 더COMEDY 프로그램을 선 호함을 알 수 있었으며 남자가 여자 보다 더 선호도가 높은 것으로 나타났습니다. 슬픈 감정(SAD)일 때는 유효 한 결과 값은 나오지 않았지만 흥겨운 콘텐츠를 미미하게 선호하는 것으로 나타났으며 여자 보다 남자가 좀 더 선호도가 높은 것으로 나타났다. 이러한 원인은 Zilinman의mood based management 이론인 슬픈 감정의 소유자는 그 감정을 감쇠하기 위해서 흥겨운 콘텐츠를 더 선호하며 추가적으로 Oliver 2009따르면 콘텐츠의 쾌락적인 요소 보다는 통찰(insight), 의미(meaningfulness), 이해(understanding)및 반응(reflection)에 모두 충족이 되어야 만족도를 높일 수 있다고 제안한다. 이러한 사용자 감정과 성향에 따른 콘텐츠의 연구는 향후 새로운 스마트 디바이스 콘 텐츠 접근성 측면에서 좀 더 만족도와 방향을 제시 할 수 있을 것이다.

This study focuses on an analysis of the Song cycle Reisebuch aus den österreichischen Alpen(op.62) by Ernst Křenek(1900-1991). When Křenek composed this Song cycle in 1929, the Orchersterlied had become a main genre in the 20th concert program and since Pierrot lunaire, Lied accompanied by a chamber ensemble elevated its position high in vocal music creation. Therefore, the conventional 19th century art song with piano accompaniment tradition had not continued into the 20th century. Křenek completed 31 art songs in his life. And this means a lot in the history of 20th century art song. Another fact that Křenek was of great importance in the history of 20th century art song is that he composed five Song cycles. Among these, four are based on his own poem, and the other one is Reisebuch aus den österreichischen Alpen. Composing Song cycle on his own poem verify the fact that Křenek was a person of a literary turn of mind and he faithfully followed the Song cycle tradition of the 19th century in purpose of unfolding a story based on one theme. Křenek’s Reisebuch aus den österreichischen Alpen consists of 20 pieces(19 songs and an Epilog added later) and is modeled on Wienterreise by F. Schubert. The Romantic inclination appeared in this Song cycle is the use of consistent rhythmic pattern in the song number eight ‘Unser Wein’, the pattern also favored by Schubert’s piano pieces. As Schubert described disenchantment of love in hisWienterreise, the fact that Křenek depicted his own hapless love for his homeland in this Song cycle is also considered to be a reflection of Romantic tendency. Křenek recapitulated the theme of the first song in the song number nineteen ‘Heimkehr’ and this is compared to the construction of Schumann’s Song cycle Frauenliebe und -leben. There are several factors in this Song cycle that continued the 19th century art song tradition, musical aspects of the cycle contain various contents of the 20th century. Twenty songs can be divided into two categories according to musical language: songs in Romantic musical languages are song number one ‘Motiv’, number seven ‘Regentatg’, number eight ‘Unser Wein’; songs in Expressionism musical languages are song number eleven ‘Alpenbewohner’, number twelve ‘Politik’. There are songs with text simply describing apparent impressions of journey such as song number two ‘Verkehr’, number three ‘Kloster in den Alpen’, and number six ‘Friedhof im Gebirgsdorf’. But those which put psychological, moral, social, and political contents into text are song number five ‘Traurige Stunde’, number nine ‘Rückblick’ and number twelve ‘Politik’. The close relationship between text and musical languages are conformed through the analyses.

Mobile games are different from the PC online games, because of the circumstance of playing, payment, and the immediacy. the frequency of use is higher than the PC online games, but the connecting time is much less. The accessibility to games is much easier. Th purchase behaviour is made on the spot. The game industries are focused on this unique market, studies the success factors and are developing numerous titles. However, there is quite a few researches for academic purpose. The mobile game market is rapidly changed and followed by the late fashions. More than one year, there is an uprising genre which has good sales history. 40% of top 50's of mobile game market on the spot are this specific genre called collectible card game. The genre has an history from the offline collectible card games like baseball player collections to Japanese style cartoon illustrated mobile collectible game. The purpose of this study was to define the mobile collectible card game genre and to examine the influence factors of purchase intention of mobile collectible card games. Factors are adopted from precedent studies and a pilot interview. Subjects of 175 members who has been experienced mobile collectible card games responded the 15 questionnaires designed for satisfaction, perceived usefulness, graphic design of cards and purchase intention. Through the regression analysis, the results of the survey can be summarized as follow. Satisfaction, perceived usefulness and graphic design of cards are found to have a positive influence on purchase intention.