본 연구는 기존 노인용 기능성 게임이 갖는 장점과 한계점을 분석하고 체감형 게임이 갖는 매체적 가능성을 접목하여 노인용 체감형 기능성 게임의 스토리텔링 전략을 탐색하는 것을 목적으로 한다. 따라서 본 연구는 노인용 기능성 게임에 대한 이론적 탐색과 경험적인 접근을 바탕으로, 노인이라는 대상의 특수성과 체감 인터페이스라는 기술적 속성, 그리고 재미와 기능이라는 이질적인 두 속성의 결합이 만들어내는 혼재성을, 게임의 형식으로 구조화하기 위해 스토리텔링 전략을 수립하고 게임을 기획하였다. <The four seasons>는 동작인식센서 키넥트를 활용한 재활치료용 체감형 기능성 게임이다. 지루하고 힘든 재활치료를 재미있게 훈련할 수 있는 체감형 기능성 게임으로 편마비 재활 치료를 위한 동작을 반복할수록 스크린 너머 가상세계가 풍요로워진다. 게임 플레이 과정은 뇌졸중으로 인해 편마비가 있는 중, 장년층이나 신체의 움직임이 원활하지 못한 노인들에게 정신적 위안과 신체적 건강을 얻게 한다. <The four seasons>게임은 감정 유희와 동작 유희가 인과적으로 연결 된 게임으로 동기부여, 동작반복, 피드백의 순환이 게임 내적 매커니즘을 통해 흥미롭게 전개되도록 하기 위해 특정 감정을 의도적으로 이끌어내고 그에 따른 결과로 행동을 유도한다. 본 연구 에서는 <The Four Seasons>의 스토리텔링 기획 과정을 체계적으로 기술함으로써 노인용 체감형 기능성 게임의 실제적 개선을 위한 스토리텔링의 구체적 방법론과 새로운 방향성을 모색하고자 하였다.

본 논문은 반복적인 읽기와 실패 및 성공에 대한 실시간 피드백이 포함된 동화 게임 읽기가 실패 두려움의 특징을 보인 한 ADHD 아동의 실패 두려움 극복에 효과적이었음을 관찰하고 이 사례에 대해 보고한 것이다. 본 연구의 실험에 사용된 동화 게임 <어부와 지니>는 읽기 스크립 트와 BCI와 모션센싱 기술을 활용한 행동과 집중력 미션을 포함하고 있으며, 이를 통해 사용자가 콘텐츠와 인터랙션 하도록 하고, 아동이 책읽기 도중에 실패할 경우 포기하지 않고 미션을 완수 해 줄 것을 독려하여 동화를 끝까지 읽고 이해하기의 목표에 성공하도록 디자인되었다. 동화읽기 실험은 참여자 아동을 대상으로 준비기 1회, 중재 4회의 총 5주 동안 실행되었다. 참여자가 콘텐츠를 읽는 과정 동안 데이터가 수집되고, 참여 관찰을 통해 아동의 읽기태도와 행동을 살펴보고, 사후 보호자 인터뷰를 하였다. 실험 결과, 아동에게서 실패의 두려움을 극복하는 모습이 발견되었다. 이는 아동이 동화 게임 <어부와 지니>를 읽으며 반복적으로 경험한 재미있는 실패가 수행에 참여하는 아동의 수치심 경험으로 작용하지 않고 자기가치감을 손상하지 않는 실패로 경험됨으로써 그 결과 아동이 실패를 효과적으로 극복하도록 도운 것으로 생각할 수 있다.

미디어는 각각 다른 특징을 가진 스토리텔링을 가지고있다. 그 중에서, 게임의 스토리텔링은 비선형적으로, 유저가 스토리에 개입할 수 있는 상호작용이 있다는 점에서 다른 매체의 스토리텔 링과 다르다. 이렇듯 사용자가 스토리에 참여하여 다양하게 전개될 수 있는 스토리텔링을 인터랙 티브 스토리텔링이라 한다. 이러한 스토리텔링은 사용자가 스토리에 참여함으로써 스토리에 더 깊은 몰입감을 느낄 수 있게 된다. 다만 이런 비선형적인 스토리는 사용자에게 자유도를 느낄 수 있게 하지만 사용자의 참여에 따라 스토리가 달라지기 때문에 스토리에 일관성을 유지하기 어렵다. 때문에 자유도와 일관성을 적절히 충족시키기 위해 많은 연구들이 있었으며, 대표적으로 게 임에선 조건 기반 분기 서술방식을 이용하고 있다. 하지만 이런 방식은 스토리 속 사건을 분기에 따라 나누는 사건 중심의 스토리텔링을 기반으로 하기 때문에 캐릭터를 강조하기 위한 캐릭터 중심의 스토리텔링엔 맞지 않다. 본 연구에서는 사건 중심의 분기 서술 방식이 아닌 캐릭터 중심 의 인터랙티브 스토리텔링 저작도구를 제작하고 동화 "선녀와 나무꾼"을 기반으로 한 게임에 적 용해보아 스토리가 어떻게 이어지는지, 스토리 제작할 때 유용한지 실험할 것이다.

본 연구는 스토리텔링을 활용한 인권활동이 유아의 긍정적 자아개념과 배려행동에 어떠한 영향을 미치는지 살펴보는데 목적이 있다. 연구대상은 실험집단 유아 16명과 비교집단 유아 16명을 대상으로 긍정적 자아개념과 배려행동연구를 하였다. 인권 활동은 교실에서 진행이 되었으며, 실험집단은 대집단활동 시 인권에 대한 스토리텔링을 1주일에 2번씩 실시하였고, 비교 집단은 대집단활동 시 다양한 주제로 이야기나누기 활동을 하였다. 이 연구에서 수집된 자료는 SPSS 22.0 프로그램을 사용하여 사전검사와 사후검사로 t 검증을 실시하였다. 스토리텔링을 활용하여 현장에서 인권에 관한 활동을 영유아를 대상으로 실시한 결과, 첫째, 스토리텔링을 활용하여 인권활동을 실시하는 것은 유아들의 긍정적 자아개념 향상에 영향을 주었다. 둘째, 스토리텔링을 활용한 인권활동을 실시한 결과, 배려행동의 하위요소인 정서적 행동, 능동적 행동, 규범적 행동, 가치부여적 행동에 의미있는 영향을 주었다. 영유아의 인권활동이 영유아를 둘러싼 환경속에서 자신의 존재에 대한 긍정적 자아개념과 타인을 배려하는 행동에 긍정적 영향을 미침으로 이러한 교수 학습방법에 대한 현장의 연구노력은 앞으로도 더욱 다양하게 시도되어질 필요가 있다.

The recent trend of local tourism is moving toward the discovery of hidden resources, breaking from the concept of utilizing the existing resources, and of creating various stories based upon discovered resources. Accordingly, this research is about establishing master plans for a tourist destination named Jeongeupsa, a ballad made during Baekje Kingdom, which is a literary resource representing Jeongeup-si. These plans will be established by applying a research process of spatial storytelling. This research contains theoretical consideration through advanced research on spatial storytelling and Jeongeupsa. The spatial storytelling research process that is suggested shall include an analysis of the context of texts, understanding of sense of place, application of a theme and a story, construction of a space, and sharing of a story. The space composition is as follows: First, district of Jeongeupsa based on the story resources of Jeongeupsa, a ballad made during Baekje Kingdom; second, Beakje Jeongchonhyun based on the story resources of the Keunsaeam wells; finally, it was composed of Jeonghae village district through story resources of Jeonghae village. The spatial storytelling system has applied while establishing master plans for the tourist destination in order to turn a tourist destination into a space where visitors can easily be aware of various story resources that a space has and stories and visitors can interact and communicate each other, breaking from the old unified planning system. The purpose of this research is to find a new method of tourist spot planning. I hope the method suggested by this research can be of help to a process of realizing various tourism resources.

In order to identify effective approaches for creating more viral Facebook posts, this research conducted an empirical content analysis of leading Korean brands' Facebook fan-pages (Samsung Mobile, SK Telecom, Kia Motors, and POSCO). Their distinctive visual storytelling and communication patterns were investigated as effective user engagement triggers. Through analysis of the research results, it was statistically proved that the different industrial attributes of the four brands, which are primarily characterized by their product (or service) types, affect their Facebook posting patterns by showing different engaging rates (measured by like, comment, and share metrics). In addition, the user engagement rates of the posts were influenced by their visual storytelling factors (i.e. ad objective, value scale, and visual media types). In line with these statistical findings, the distinctive visual storytelling strategies of the four brands were identified. Moreover, competitive and uncompetitive visual storytelling tactics were suggested according to the ad objectives and visual media types on Facebook.

As a contemporary, postmodern marketing strategy, digital storytelling is the virtual means by which a story can be organized. Less traditional than a conventional beginning, middle, and end narrative, the genre suggests that individuals connect the dots of a story by comparing their reading with others. This research examines Christian Dior’s Secret Garden IV campaign film as it is broadcasted on YouTube for six weeks and diffused through Instagram. Through a grounded theory approach we measure and analyze audience engagement and key themes expressed through user-generated content on YouTube and Instagram. Manual coding and three computer-aided text analysis programs are used to analyze the data and triangulate results. This research contributes to the literature on consumer engagement in digital storytelling, online brand communities, and celebrity endorsement. Introduction Digital technologies have improved the aesthetics of content creation, enabling brands to develop deeper levels of engagement with consumers through social channels (Merrilees, 2016). Every day hundreds of millions of hours of video are consumed on YouTube and the number of high performing channels has been increasing by 50% per year (YouTube, 2017). Instagram’s monthly active users have grown from 300 million in December 2014 to 600 million in December 2016 (Statista, 2017). Within the social media sphere, commercial and individual users connect through multiple platforms and devices to share ideas and information without the constraint of time and space (Gruzd & Wellman, 2014). The digitization of visual culture provides users with so much content that it may even result in information overload (Babin et al., 2017). This research focuses on the fashion sector and social media platforms that cater specifically to visual imagery and video content. The logic is twofold: the fashion industry is inherently visual and research on a study of eighty-three fashion brands indicates a shift from traditional advertising to video products, especially on social media (L2 Inc., 2016). We examine elements of French luxury goods company, Christian Dior’s Secret Garden omni-channel marketing campaign. As a collection of short films shown on YouTube and in other media, the campaign had four annual installments beginning in 2012. The Secret Garden series explores the brand’s past and present within the context of the 21st century Palace of Versailles. Our focus is on Secret Garden IV, launched in May 2015, featuring singer/songwriter Rihanna as the protagonist. Dior’s portrayal of Versailles throughout the Secret Garden series reflects undertones of its monarchial heritage and its high fashion prestige. In Secret Garden IV, there is a juxtaposition to this theme when Rihanna’s subculture persona and celebrity status (Fleetwood, 2012) presents a misalignment between luxury ideals and Rihanna’s position in popular culture. Table 1 provides an overview of the history of the campaign. This research measures and analyzes audience engagement and key themes expressed through users’ comments on YouTube and Instagram for the pre-launch and launch of the Secret Garden IV campaign. Through a grounded theory approach we identify, analyze, and validate keywords and group them into themes utilizing both manual coding and computer-aided text analysis (Lai & To, 2015). We utilize three software programs (Tableau, NVivo 11, and Leximancer) to triangulate results. The scholarly literature on fashion luxury goods is scant and this methodological approach is sound (Neuendorf, 2017). Five recent scholarly articles on luxury fashion goods and social media were identified. One relates to storytelling and is visually-focused (Megehee & Spake, 2012); three develop models (Kim & Ko, 2010; Kim & Ko, 2012; Brogi et al., 2013); and one uses the case study approach (Phan et al., 2011). This research fills both a theoretical and a methodological gap. We examine a digital storytelling campaign across social media platforms with the prospect of new theoretical insights. According to Snelson (2016) there is scant social media research on YouTube and Instagram and social media research using a grounded theory approach is also limited. Theoretical background Digital Storytelling Digital storytelling uses technology as an extension of oral and written stories “…to solidify our cultures and share knowledge for the future” (Irwin, 2014, p. 40), placing engagement with digital media as an extension of the self. People naturally think in narratives and stories, rather than arguments and paradigms (Megehee & Spake, 2012) and may use digital storytelling to order otherwise disconnected experiences into interrelated, meaningful episodes (Vannini, 2012). By connecting the dots of a story on social media users have the opportunity to formulate meanings of their own and build interpretations by comparing their “reading” with that of others. Social media has empowered the consumer by enabling communication that is multi-way, multi-directional, and led by the consumer (Tuten & Solomon, 2015). The fashion film on the internet has been viewed as “a genre that is not is not simply a tool to stimulate consumption, but is something that is set to change our notion of fashion as a moment in time” (Khan, 2012, p. 236). In her review, “100 Years of the Fashion Film,” Marketa Uhlirova posits that contemporary technologies aimed at a film’s “potential to promote fashion” turned into “the medium’s ability to recast consumption as seductive visual entertainment,” devaluing a fashion film’s potential for not only entertainment and visual pleasure, but also for experimentation and innovation (Uhlirova, 2013, p. 140; p. 153). Online Brand Communities As a hub of value creation in the consumer marketplace, brand communities are an enthusiastic, passionate group of customers who express similar commitment towards a brand or product and may not be geographically bound (Muniz Jr. & O’Guinn, 2001; McAlexander et al., 2002). In brand communities created by marketers, organizations may stimulate engagement, brand loyalty and the expression of positive emotions and trust (Bagozzi & Dholakia, 2006; Jung et al., 2014). Customer engagement behaviour pertains to a variety of online and offline behaviours (e.g. word of mouth, blogging, customer reviews) that are not transactional, but can be measured (Verhoef et al., 2010). Although positive word of mouth and brand advocacy are not guaranteed, an organization’s most engaged social customers have the potential to communicate messages that are perceived as more credible than those generated by the organization (Kozinets et al., 2010). A high level of engagement may be described as delight or joy. Engagement requires strong emotional and relational bonds (commitment and trust), and may transform customers into loyal “fans” or co-creators of value (Hawkins & Davis, 2012). A study of customer engagement behaviour in a social media environment is complex because engagement behaviour in different channels may vary considerably, with a different effect on value creation or purchase intent. For example, if a customer tweets on a mobile device his/her engagement and purchase intent may differ from engagement and purchase intent as a result of interaction with a video or blog (Libai et al., 2010). Celebrity Endorsement A celebrity endorsement is defined as “an agreement between an individual who enjoys public recognition (a celebrity) and an entity (e.g., a brand) to use the celebrity for the purpose of promoting the entity” (Bergkvist & Zhou, 2016). Celebrity endorsements previously were associated primarily with consumer goods and services advertised through traditional media, such as print and television. More recently, these endorsements encompass any mode of communication as well as business-to-business goods and services. This update is significant considering the addition of advertising on the Internet, in social media, “stealth marketing” on TV talk shows (Kaikati & Kaikati, 2004) and red carpet appearances (Carroll, 2009). Theories related to celebrity persuasion that have application to the fashion industry have examined the way consumers process information from marketing communications and relate it to their self-concept (Carroll, 2009). To the consumer, the celebrity represents a meaning, based on the recognition s/he has received in the symbolic environment and his/her persona. This meaning is transferred to the product when the celebrity is seen in the marketing communication. In the final stage, the meaning moves from the product to the consumer, who transfers the meaning into his/her notion of the self-concept (Carroll, 2009). This transference effect benefits the brand (Tuten & Solomon, 2015) and the consumer who may use products to reveal their self-concept to others (Babin, et al., 2017), especially in high involvement consumption situations (Ahuvia, 2005). Method Sample Instagram and YouTube data were collected using Netlytic (Gruzd, 2016) for the period May 14 – June 24, 2015 for the purpose of capturing data before and after the official release of the film (May 18, 2015). A total of 8,986 records (uncleansed) are in the Instagram (#SecretGarden4 and @Dior) database and 426 records (uncleansed) in the YouTube database. Multiple URLs were used for YouTube because there were four previews, and short and long versions of the film. Procedures The data was cleansed (236 YouTube posts; 6,763 Instagram posts). To measure sentiment and engagement, a text analysis was performed using an adaptation of Dann’s Twitter (2010) classification. Through a grounded theory approach (Lai & To, 2015) key words, concepts and themes were identified and triangulated using Tableau, NVivo 11, and Leximancer software programs. Concluding Remarks As a multi-year campaign, Dior’s Secret Garden was meticulously crafted to project an understanding of Dior’s brand image and to create an air of anticipation for consumers. Within the context of digital storytelling we delve deeply into how the last installment of this campaign resonated with consumers who watched the film on social media and responded to Dior’s Instagram initiatives. Through our mixed methods research approach, we develop theoretical and methodological contributions that benefit academics and fashion marketers.

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.

This paper examines the effects of student-centered collaborative project programs using digital media for the EFL university students. To compare the effectiveness of a digital storytelling project program (127 students) and a topic-research presentation program (126 students) we used pre- and post-TOEIC English speaking tests. We also administrated a survey on students’ attitude towards their learning, interviewed students and observed the programs. The results showed that there was a significant improvement of the students’ English speaking ability in the two programs. The score of the topic-research presentation program improved more than that of the digital storytelling program. However, the students in the digital storytelling program were more motivated to engage in the collaborative project than those of topic-research presentation program in terms of interest and participation. Based on the results of the two programs, this paper suggests the educational implications for those who want to develop and implement collaborative projects using digital media for the EFL university students.

This paper aims to explain how storytelling becomes interlinked with social media and the conceptual consequences this development implies. In recent years the interest in storytelling has increased within the marketing discipline. Parallel to this development, the traditional media landscape has been subjected to change as a result of digitization and particularly the expansion of social media. Even though the social nature of these media and its associated electronic word of mouth seem to be well aligned with storytelling, extant literature exhibits few attempts to review the storytelling concept in relation to social media. Based on such a review, the contribution of this paper is condensed into six theoretical propositions that point out how storytelling is expected to become increasingly common and dynamic in social media. Therefore, storytelling is suggested to represent a managerial challenge with regard to professional organizations’ marketing approaches but simultaneously allow for increased customer intimacy for those actors who develop successful ways of attracting the interest and engagement of social media users.

Luxury consumers are highly social online, and with approximately 80 percent of luxury shoppers using social media on a monthly basis (Mckinsey & Company, 2015), the experience luxury brands provide on social networking services (SNS) becomes imperative. Interaction through social streams is about building a relationship with people who may continue to use the luxury product for the next 25 years (The Guardian, 2015). Hence, from magazines to smartphones, luxury brands are seeking new opportunities to communicate with their customers. Brands such as Burberry and Gucci are becoming increasingly active by uploading visuals, narratives, and films that represent their brand, and others are slowly following suit. Although various contents are now being posted online, when it comes to luxury brands, what separates them from others is the rich and unique brand heritage (LinkedIn, 2015; Mckinsey & Company, 2015). Despite this strength, it is a not implemented effectively as a strategy (The Guardian, 2015). In this study, we want to emphasize the need for luxury brands to go digital and to spread their brand stories as a form of advertisement. Stories in advertising and their effects on consumer behavior has been dealt by previous research (Deighton, Romer, & Mcqueen, 1989; Escalas, 2007; Escalas, 2004; Wang & Calder, 2006). Deighton, Romer, and Mcqueen (1989) found that dramatization influenced viewers’ processing to become more empathetic than argumentative, which made dramatized commercials more persuasive than argument-oriented ones. Escalas (2004) showed that narrative advertisement processing is positively correlated with brand attitude and behavioral intention and that narratively structured advertisements persuade others through the experience known as narrative transportation. This experience has been explained by Green and Brock (2000) as “a convergent process where all mental systems and capacities become focused on events occurring in the narrative.” Narrative transportation theory explains the process of being lost in a story and that it takes place when a consumer experiences a feeling of stepping into a world stimulated by narratives due to the empathy with the characters and imagination of the story plot (Laer, Ruyter, Visconti, & Wetzels, 2014). This process can be effective in changing attitudes and beliefs of individuals who read stories (Green & Brock, 2000). For luxury brands, brand heritage can be transformed into stories that can transport readers to other worlds, and this can affect consumer attitudes, intentions, and behaviors (Laer, Ruyter, Visconti, & Wetzels, 2014). This experience is what this study pursues to delve into and understand.

본고에서는 중화권 여우커를 위한 한국관광지 스토리텔링에 대하여 살펴보므로, 이 방면 연구에 보탬이 되고자 한다. 특정 관광지를 스토리텔링 하는 것은 더없이 좋은 관광안내인 것은 틀림없지만, 지나치게 허구적이고 흥미 위주의 스토리텔링은 관광객의 마음을 불편하게 할 수 있다는 점에서 심중해야 한다. 중국인의 습성 상 좋아하는 스토리텔링을 만들어내는 것도 좋지만, 보다 ‘한국적인 것’을 살려 스토리텔링을 담아 관광지를 개발하고, 중국 여우커 의 마음으로 다가가는 것이 바람직하지 않을까 생각한다.

이 글은 셰익스피어의 『맥베스』(1605-06)에 드러난 스코틀랜드의 토속 원시 신앙, 즉 하일랜드 샤머니즘의 그림자를 추적하려는 종교민속학적 발상에서 시작되었다. 『맥베스』의 주조를 이루는 기후, 나무, 새에 대한 모티프는 켈트 신 앙의 뿌리 깊은 핵심 요소들이다. 천둥, 번개, 비를 동반하여 등장하는 세 마녀, 나뭇가지를 들고 버넘 숲에 대한 예언을 하는 유령, 새가 날아다니는 패턴을 보 고 신탁을 읽어내는 새 점성술사인 어거(augur)의 흔적을 지닌 레이디 맥베스를 비롯하여 작품 전체에 스며있는 불길한 징조로서의 새의 이미지는 고대 켈트 사제인 드루이드(Druids)의 모습을 파편화해놓은 것이다. 왕의 장자인 말콤이 잉글랜드에서 병사를 일으켜 버넘 숲 나뭇가지로 위장한 군대로서 맥베스를 처 단하는 대결말은, 로마군이 처음 스코틀랜드에 진출하여 성스러운 나무들을 잘 라버리고 드루이드 계급을 처단했던 역사의 순간과 중첩된다. 이는 숲과 나무에 서 신탁을 받는 고대 켈트 오크 ‘신화’를 처절히 해체시켜버리고 기독교가 세력 을 쥐는 양상을 단적으로 표현한 것이다. 셰익스피어는 켈트 신앙의 핵심적인 스토리텔링 코드들을 활용하여 고대 자연숭배가 기독교라는 새로운 계시종교와 갈등을 빚다가 패권을 빼앗기는 과도기의 모습을 의미심장하게 그려내고 있다.

본 연구는 2009 개정 수학 교과서가 이전의 2007 개정 수학 교과서와 비교하여 스토리텔링의 요소가 어떻게 얼마나 반영되었는지를 분석하는 것을 목표로, 2007 개정 교육과정에 따른 두 출판사의 교과서 와 익힘책을 동일한 출판사의 2009 개정 교육과정에 따른 교과서와의 문항을 비교 분석하였다. 구체적 으로 두 교과서는 전체적인 교과서 구조 측면에서, 그리고 실생활연계, 수학적 흥미, 창의성과 의사소통 이라는 세가지 스토리텔링형 유형 측면에서 분석되었다. 연구 분석 결과, 새로 개정된 2009 A와 2009 B에서 다음과 같은 공통적인 특징을 발견할 수 있다. 첫 째, 스토리텔링을 반영한 전체적인 문제의 수나 스토리텔링적 요소에서는 2009 개정 교과서와 이전 교 과서간에 큰 차이가 발견되지 않았다. 둘째, 2009 개정 교과서는 학생들의 참여를 유도하는 활동이 증 가하였다. 셋째, 2009 개정 교과서는 자기주도적 학습의 요소가 증가하였다. 이상에서 분석한 결과를 토대로, 2009 개정 교육과정과 「수학 교육 선진화 방안」이 추구하는 스토리 텔링이 잘 구현된 수학 교과서 개발을 위해 첫째, 개정 교육과정에서 강조하는 스토리텔링이 무엇인지, 현재의 교과서가 어떤 점에서 변화되었는지를 명확히 한 후 이에 대한 연수가 필요하며 둘째, 수학 교 과 내용과 일상생활과의 연계를 위한 다양한 소재를 발굴할 필요가 있으며 셋째, 이야기적 요소를 보충 하고 넷째, 다양한 활동을 이끌고 다섯째, 공학적 도구를 다양하게 사용하는 기회가 주어져야 함을 제 안하였다.

This study intends to discover stories and sensibilities connected with characteristics and symbols of the history and culture of Sangju to develop contents about the native foods of Sangju. ‘General Jeong’s Table’, which supplied the energy and nutrition necessary for soldiers during war, is set with Jobap, Patipguk, Euneogui, Baechumoojeon, Kongnamulheojib, Patipnamul, and Munamulsileagideanjangmuchim. ‘Sangjuseong retaking wartime food’, as a kind of ready-to-eat meal, which stresses convenience above everything else, is composed of Konggarujumeokbap, Bbongipjuk, Gamjangajji, and Odigojgammodeumbagitteok for table setting. ‘General Jeong’s liquor table’, which allowed the general to regain his energy or was set to entertain generals of allied forces in the Myeong Dynasty, is formed by Baeksuk, Gojgamssam, Kongjukjijim and Sangsurisul. Efficacies of food materials were analyzed in the Part of Drug Formula of the best-known medical book in Asia. Foods on ‘General Jeong’s Table’ has health efficacies that protect the five viscera and maintain the spleen and stomach.

Storytelling has become increasingly of interest for marketing and management in the last years and promises both aesthetic design and effecting consumers’ perception of fashion brands positively. Nevertheless, the complexity of story design, still being rather focussed by the humanities, and its effective adaption for luxury fashion brands regarding value perception and related behavioural consequences are still poorly understood and have not been explored so far. We seek to fill this research gap. In our study, we chose a luxury brand’s existing story and applied story concepts of narratology to rearrange plot, characters, and style first. In a second step, we examined the effect of applying the story concepts by testing the perception of three different groups (no story, original story, and rearranged story). Using PLS path modelling, we proved our hypotheses empirically. Our examination suggests that an application of narrative concepts for creating fashion brand stories has a measurable impact on consumer’s reception and behavioural outcome. On the one hand, this involves dimensions of luxury value, such as financial, functional, individual, and social consumer perceptions as well as an overall likability perception of the brand. On the other hand, this perception obviously impacts consumption habits regarding luxury fashion as much as it is related to recommendation behaviour, willingness to pay a premium price, and purchase intentions. Our findings strongly advice to consult established theories, concepts, and models of the humanities for storytelling in marketing and management. While measuring specific elements already proves their applicability, it will be a major task for theoretical and qualitative research to discuss existing material for the demands of marketing and management as well as (fashion) brands. Even for professionals in brand management, our study advices to have a closer look on traditional storytelling concepts to create effective campaigns. The particular value of our study is to present and empirically verify design elements of storytelling with respect to theoretical narrative approaches, which may have specific impact on certain luxury values and their causal effects on luxury fashion consumption. Our results reflect remarkable implications for luxury brand management as well as future research in luxury fashion, brand management, and marketing storytelling. A luxury company may stimulate purchase behaviour with a storytelling campaign. Nevertheless our study proved that a rather appropriate design, respecting research approaches of narratology, is able to increase the impact on consumers’ perception and behavioural outcome.

Social media has radically altered marketing’s ecology of influence. Moreover, through the rise of visual social media platforms in recent years, marketers are facing new challenges. Adopting an exploratory approach, our study combines interviews and content analysis to explore the managerial perspectives to brand storytelling through visual content site Pinterest and to assess its potential as a strategic marketing communications tool.

본 연구는 시청자의 입장에서 국내 지상파 채널에서 방영되는 드라마의 주제와 스토리의 유형을 알아보고 스토리 유형과 스토리텔링 방식이 지상파 드라마의 만족도와 지상파 채널 브랜드 태도에 어떠한 영향을 미치는지 탐색한 것이다. 연구 결과를 요약하면 수용자들 이 선호하는 스토리 유형은 사랑, 전통문화, 자극, 파격(막장), 성공, 영웅/신화의 6가지로 정리 할 수 있다. 이 중 국내 지상파 드라마의 만족도에 영향을 미치는 유형은 사랑, 파격, 전통문화 로 나타났다. 스토리텔링 방식 중에는 높은 완성도, 소재의 신선함, 배우의 연기, 배경 음악이 드라마 만족도에 영향을 미쳤다. 또한 스토리 유형들과 스토리텔링 방식은 채널별 차이는 있 지만 지상파의 채널 브랜드 태도에 영향을 미치고 있었다. 지상파 채널에 대한 태도 각각에 영 향을 미치는 스토리 유형으로는 MBC의 경우 자극, KBS와 SBS의 경우 공통적으로 파격이라 는 스토리 유형이 영향을 미치는 것으로 나타났다. 스토리텔링 방식 중에는 MBC에 영향을 미 치는 요인은 발견되지 않았고 KBS에는 높은 완성도, SBS에는 스토리의 표현력과 소재의 신선 함으로 나타났다. 이러한 연구 결과는 드라마 제작에 있어 스토리텔링 전략과 방송사의 채널 브랜드 관리 차원에서 시사점을 제공하고 있다.

Play for mankind was evolved into the current era of digital media found in a monitor, so-called ‘game’. Along the current trend of broadly expanding the users of game, the collision is frequently occurred from the issues associated with balance between the proper and reverse function melted in a terminology, “game”. However from the perspective of writer, the existence of game, if it is in an inseparable relation with the mankind, should be fully accepted, rather than be blamed, therefore, our life should be settled down as a cultural trend in the age of “cultural prosperity”. The writer also realizes that game should be settled down as advanced cultural contents as high-edge, comprehensive cultural arts. Therefore, the writer strongly argues that the convergence of engineering and humanities imaginations should be achieved for the unity of knowledge in game industry. Humanistic element is required for the convergence of engineering and humanistic imaginations. In-depth consideration is highly required to find an approach how two afore-mentioned elements, that are totally different each other but in the neighborhood, are to be well-mixed and integrated for story-telling, which is the ultimate motivation for this study. Therefore as a result, a key to dilute the dysfunctional issues associated in game industry was the convergence of humanities; accordingly, this study was to seek a methodology what humanities can be integrated with the components of game, such as character, event and background.