A STUDY ON THE EFFECT OF VERBAL BRAND PERSONIFICATION ON CONSUMER EVALUATION IN ADVERTISING: FOCUSED ON THE INTERNAL AND EXTERNAL PERSONIFICATION

Kyounghee Chu,Doo-Hee Lee,Ji Yoon Kim 글로벌지식마케팅경영학회 2016 Global Marketing Conference Vol.2016 No.7

Given the pervasive use of brand personification by marketers, it is surprising that there has been extremely limited research directly examining the effects of brand personification. In this article, we attempt to fill this gap in part by exploring how personified brand, in contrast to an objectified brand, might affect consumers’ response. Also, previous research have studied mainly on the visual or combined (visual-verbal) brand personification without differentiating the two types of brand personification. Therefore, this study tries to focus on the verbal brand personification which has not been studied extensively. And there are two types of verbal brand personification: external and internal image. So this study validates the effect of internal (kind) or external (looking good) verbal brand personification separately in the series of two experiments. Study 1 tests the effect of internal verbal brand personification on the consumer evaluation using product brand. Specifically, we test the moderating effect of brand knowledge between verbal brand personification and consumer evaluation and explore the underlying mechanisms (brand intimacy, psychological discomfort) about how the interaction effect of personification level and brand knowledge occurs. Study 2 tests the effect of external verbal brand personification on the consumer evaluation using service brand. Specifically, we test the effect of need-for-cognition on attitude towards personified brand ad and additionally explore the underlying mechanisms (perceived novelty, cognitive resistance) about how need-for-cognition influences. This research could provide useful guidelines for the marketers to utilize personification method when planning the head copy or slogan for advertisement. Therefore, marketers are better able to make an effective brand personification strategy through understanding the boundary conditions and mechanisms about the impact of brand personification based on the findings of this study.

바늘 제문에 나타난 의인화와 감정의 문제

조혜란 한국고전여성문학회 2024 한국고전여성문학연구 Vol.0 No.48

이 논문은 조선시대 여성이 쓴 한글 제문 중 부러진 바늘을 대상으로 한 두 편의 작품인 <조침문>과 <바날졔문이라>에 나타난 의인화와 감정 서술의 특징에 대해 고찰한 논문이다. 조선시대 작품 중에는 부러진 바늘을 대상으로 하여 애도의 감정을 표하는 작품들이 다수 있으며, 선택한 장르 또한 제문, 민요, 가사 등 다양한 장르에서 발견된다. 본고는 조선시대 일상 생활문화 속에서 바늘 제문을 살피기 위해 조선시대 여성 노동으로서의 바느질과 당대 조선의 바늘 생산, 청나라 바늘 가게 방균점에 대한 정보를 검토했다. 또 바늘 제문의 특징을 살피기 위해 부러진 바늘을 소재로 삼은 민요와 가사 작품들과의 비교를 시도하고 또 고전문학에서 의인화 기법을 사용하는 대표적 장르인 한문 가전문학과 동물 우화소설에 나타난 비교도 시도하였다. 그 결과 여성이 쓴 한글 바늘 제문은 부러진 바늘을 소재로 한 민요나 가사 작품에 비해 글쓴이와 부러진 바늘과의 관계가 부각되면서 바늘이 단지 바느질 도구가 아니라 지은이의 바느질 행위에 함께하는 협력자로 서술되는 특징이 드러남을 밝혔다. 또 의인화 기법의 경우 동물 우화소설의 의인화는 한 번 의인화가 되고 나면 본래 동물의 특성은 거의 잊혀지고 인간적 요소가 부여된 등장인물이 부각되는 반면 바늘 제문의 의인화는 의인화가 되었어도 그 대상이 바늘이라는 사물임이 지속적으로 환기되고 있다는 점에서 차이가 있다. 의인화를 해도 바늘이라는 사물의 특징이 지속적으로 환기된다는 점에서 바늘 제문의 의인화 기법은 한문 가전문학에서 사물을 의인화하는 방식과 유사한데 그러나 감정 서술의 측면에서 보면 한글 제문은 바늘에 대한 지은이의 애도와 상실의 감정이 깊이 드러나는 반면 한문 가전문학의 경우에는 의인화되는 사물에 대한 지은이의 감정 투사는 잘 드러나지 않는다. 이런 점에서 볼 떄 바늘 제문에 나타난 의인화 기법과 감정 서술은 특징적이다. 한글 바늘 제문에서 드러나는 이 같은 특징은 이 작품들이 인간과 사물이 관계를 맺는 방식, 사물을 대하는 인간의 시각 등 현재 중요하게 대두되는 인간중심주의 탈피의 논의와 관련하여 읽을 수 있는 단초를 보여주는 것이라 하겠다. This paper examines the characteristics of personification and emotional description in Jochimmun(弔針文) and Banaljemunira, two works about broken needles. These two works were written in Korean characters and by women writers during the late Joseon Dynasty. Among the works of the Joseon Dynasty, there are many works that express feelings of mourning by using broken needles as objects, and the genres chosen are also found in various genres among Jemun(祭文), folk songs, and Gasa(歌辭). In order to examine the works mourning the needles in the daily life culture of the Joseon Dynasty, this paper reviewed information on sewing as female labor during the Joseon Dynasty, needle production in Joseon at the time, and needle shop visited by Koreans during their envoys to Beijing. And in order to examine the characteristics of the works mourning the needles, this paper attempts to compare them with folk songs and Gasa(歌辭) works that use broken needles as a subject matter, and also compares them with Gajeon(假傳) works written in Chinese characters and animal fable novels, which are representative genres that use personification techniques in the Korean classical literature. As a result, the works mourning the needles written by women emphasize the relationship between the writer and the broken needle compared to folk songs or Gasa(歌辭) works that use broken needles as the subject matter, and the needle is described as a collaborator in the author's sewing activities rather than just a sewing tool. Also, in the case of the personification technique, in the case of personification in animal fable novels, once personified, the original characteristics of the animal are almost forgotten and characters with human elements are highlighted, whereas in the personification of the works mourning the needles, even if personified, the object is a needle. The difference is that the facts are constantly being reminded. The personification technique of the works mourning the needles is similar to the method of personifying objects in Gajeon(假傳) works in that the characteristic of the object, the needle, is continuously evoked even through personification. However, in terms of emotional description, the Korean ancestral rite is similar to the author's mourning for the needle. While the feelings of loss are deeply revealed, in the case of Gajeon(假傳) works, the author's projection of emotions toward personified objects is not clearly revealed. In this respect, the personification techniques and emotional descriptions shown in the needle rites are characteristic. These characteristics revealed in the works mourning the needles can be said to show the beginning of how these works can be read in relation to the discussion of breaking away from anthropocentrism, which is currently emerging as important, such as the way humans and objects relationships and the human perspective toward objects.

브랜드 의인화에의 영향 요인 및 성과에 관한 연구 - 항공서비스 산업에의 시사점 -

서미은 ( Xu Weiyin ),김병재 ( Byoung-jai Kim ) 한국항공경영학회 2020 한국항공경영학회지 Vol.18 No.6

This thesis deals with the factors that influence brand personification, which has been growing in theoretical and practical interest in recent years, and its performances. To this end, brand personification was summarized based on prior research studies on brand, brand personification, and consumer-brand relationship, and factors that positively influence brand personification were derived. In addition, it attempted to identify which variables play a mediating role in the brand personification leading to the establishment of a consumer-brand relationship, and by synthesizing these factors, the theoretical and practical implications for the brand personification, especailly aviation service industry, were suggested. In this paper, we examined the influencing factors of brand personification on communication factors, brand factors, and consumer factors through reviewing previous studies. Specifically, we derived responsiveness, connectivity, brand authenticity, information resource evaluation, and friendship need. We constructed a research model that brand personification effect consumer-brand relationship through brand attachment and brand trust, and verified it through empirical study. The empirical study was conducted through a structured questionnaire surveyed in the 20s to 40s in China. As a result of the empirical study, all the hypotheses were accepted except for the responsiveness and brand personification. The theoretical implications based on empirical research results are presented, and practical implications re given to companies that are trying to build successful brands and establish relationships with consumers. In addition, this study tried to present implications for the aviation service industry.

이성복 시에 나타난 의물화와 실체화 양상 연구 - 『뒹구는 돌은 언제 잠 깨는가』를 중심으로 -

이수경 영남대학교 인문과학연구소 2014 人文硏究 Vol.- No.70

Lee Seong Bok' first poetry When does the rolling stones wake up, has been highly valued for its unusual and characterful description of the pain in the era of 80s. For Lee, Language is our own body and the poet is the place which material and pain meet each other. In the poetry When does the rolling stones wake up, the pain dissolves in many things and characters that we can easily see around us. And these things and characters represent our decayed society. The passive and gloomy poetic narrator stares at this sight with no hope. But the poetic narrator senses and recalls pain and dead people from fallen leaves, dead cicada and old shoes in the deep sleep like death. This is the reason why the poetic narrator is melancholic and so depressed. In contrast with the revival of death, human being is constantly changed to the mechanic. This reification is related with the melancholic poetic narrator. Agony, pain and dead people is substantialized to the sensible material and at last they emerge as the vivid phenomenon to the poetic subject. From this aspect, these material based on the pheonomenal world take over new ontological status. The poetics of personification is inherent at this point. Basically the trope operates on the basis of material. Paxon defines the trope as ‘translation' and classifies the personification as ontological translation through figural figure. According to Paxon's theory, this study analysed many kind of tropes in the poetry When does the rolling stones wake up, and investigated that the personification is focused on ontological change from abstract ideation to material, in other words substantialization. Forgotten and dead people are supposed to contain permanence not by human character, but by material. Therefore the material performs as the personification figure. It is remarkable that this personification comes from the death of poetic narrator. The personification character comes into existence when the poetic narrator tries to die. But the poetic narrator also desires to live based on the personification character. Therefore the dialectic between live and death leads to the mutual personification. 이성복은 1980년대를 대표하는 중요한 시인으로, 그의 첫 번째 시집 『뒹구는 돌은 언제 잠 깨는가』는 80년대의 시대적 아픔을 독특하게 구사해내었다는 점에서 높은 평가를 받았다. 그에게 언어란 우리 자신의 육체인데, 그러므로 시란 실체와 물질의 세계와 삶에 대한 고통과 애환이 만나는 지점이다. 『뒹구는 돌은 언제 잠 깨는가』에서 고통은 사물과 주변의 인물들에게 녹아 다양한 병든 사회의 모습으로 나타난다. 하지만 수동적이고 무기력한 화자는 이와 같은 부패한 현실에 어떠한 저항도 하지 않으며 단지 바라볼 뿐이다. 아픔은 떨어지는 나뭇잎, 죽은 매미, 낡은 신발과 같은 주변의 사물과 자연물에서 되살아난다. 이로서 시적 화자는 실체화된 고통을 감지하고 대상과 만나게 된다. 하지만 이러한 만남은 죽음과도 같은 잠 속에서 가능한 것으로, 시적 화자가 잠에서 깨어나고 싶지만 깨어나지 못하는 이유는 여기에 있다. 죽음 속에 대상과의 만남이, 그리고 그들의 재생이 있기 때문이다. 이렇게 주체는 자율적이고 능동적인 인간의 모습이 아닌데, 그의 시에서 인간이 지속적으로 의물화되어 나타나는 이유도 여기에 있다. 인간의 의물화된 모습과는 반대로 추상적 개념인 고통과 괴로움, 시간은 실체화되어 한 존재와 만나는 모습으로 나타난다. 이러한 만남으로 고통 받고 잊혀진 존재들은 주체와 새로운 관계를 맺으며 다시 태어나는 것이다. 이렇게 그의 시에 나타난 실체와 사물들은 새로운 존재론적 입지를 차지하는데, 여기에서 그의 시에 나타나는 의인화의 시학을 볼 수 있다. 기본적으로 비유는 물질을 기반으로 하는 실체를 토대로 이루어진다. 팩슨은 이러한 실체를 기반으로 하는 비유를 ‘번역’이라는 단어를 통하여 의인화를 포괄적으로 살펴보았다. 그러므로 의인화는 모든 형상적 조작을 포함하는 것이다. 본고는 이러한 팩슨의 논의에 따라 그의 시에 나타나는 이미지들의 존재론적 변화의 과정을 살펴보았다. 이를 통하여 고통과 같은 추상적인 관념이 실체를 형성하고, 감각할 수 있는 대상으로 다가오는 것을 살펴보았다. 그 과정에서 이러한 실체가 영속성을 담지하고 있음을 알 수 있었다. 이를 통해 잊혀지고 죽은 이들은 생명을 획득하고, 실체는 그들을 되살려내는 의인화 형상으로 기능하게 된다. 이는 시적 화자의 죽음과 기도를 통하여 이루어진 것으로, 즉 화자의 죽음은 수많은 존재들을 되살아나게 하는 결과로 이어지게 되고, 다시 화자는 이들 대상을 통하여 재생하는 모습이다. 이는 끊임없는 삶과 죽음에 대한 시인의 존재론적 고찰에 의한 것으로, 죽음과 삶의 변증법이 이러한 이중적 의인화의 양상으로 드러나고 있는 것이다.

오규원의 동시에 나타난 비동일성의 시적 인식 연구 - 『나무 속의 자동차』를 중심으로

김영식 ( Kim Young-sik ) 동아대학교 석당학술원 2017 석당논총 Vol.0 No.68

This dissertation starts to ask the reasons why Oh, Kyu-Won, a poet, who have made great achievement as an intense and dispassionate modernist in the history of contemporary Korean poetry, devoted a lot of attention and composing poetry for the children`s poem showing an ingenuous world of innocence of childhood. For Oh, Kyu-Won, who received a favorable evaluation for methodology of deviability of concept and poetic views of transparency throughout his poetic career of 40 years, the children`s poem was not independent from his own views of poetry and thus not the subject of a simple deviation or a leisurely pastime. There were children`s poem at his starting point for poetry, and even after the official start of literature career, it has been identified as `intermittent` but `constantly` that he has shown his attention to children`s poem at the same time. Especially considering the fact that A Car in Trees, his first collection of children`s poem, was published during the latter phase of his life when genuine achievement was made, his interest in children`s poem is said to be on the verge of exceeding the temporary and exceptional events. However, Oh, Kyu-Won`s unique view of poetry based on nonidentity which is rooted in the gap between language and objects and the general character of children`s poem based on the commonality of personification has a point of conflicting with each other. Oh, Kyu-Won`s unique view of poetry, which is conflicted with the general personification of children`s poem must go through a process of re-considering the area of children`s poem by an acute viewpoint. In other words, instead of denying children`s poem which are limited to children`s minds and interrupted by songs, he was emphasizing the views of children as if he was watching things differently every time like children with placing children`s poem in children`s mind. This view for children`s poem is emphasized throughout the whole period of Oh, Kyu-Won`s life for poetry. As a result, his point of view emphasizing the notion of nonidentity is reflected and projected simultaneously by the way that is not entirely dependent on the technique of general personification of children`s poem. There are two main types of methods. One is a method securing new prospect of meaning that a world of in-between space absorbs personification throughout his first half of poetic life and the other is a method that a world of verb-centered relation emphasized in his latter part of poetic life is creating a new language space independently of personification. Both correspond to the method in which coincides with the creation of a poetic world of Oh, Kyu-Won`s personality style. Thus, his children`s poem is placed on the point where the world of general identity of children`s poem and the world of nonidentity of Oh, Kyu-Won`s personality are joining, and 『a car in trees』 is also said to be the result of the extension of the same concept.

이념화에 따른 인물의 형상화 양상 연구 - 정묘 병자호란 이후 대청 인식의 추이를 중심으로

이영환 한국문화융합학회 2022 문화와 융합 Vol.44 No.2

The state of the times surrounding the writer is reflected in literature about story development and personification. So, in case of personification by specific ideology for political purpose and benefit, it is necessary to analyze that intention and background. For this, it should be checked about political society of those days accurately. In time which Jeungmyo Byungja War broke out, the international situation was very complicated and the position of Joseon was very embarrassing. Finally Joseon selected route of anti-Qing Dynasty. Accordingly, Joseon needed something and somebody that shift responsibility on and had to raise hostility. Kang Honglib was negatively shaped in <Gangro-jeon>, Im Gyeong-eop was heroically shaped in <Im Gyeongeop Jeon>. In these literary works, even though acts of character are far from the truth, were read to the reader with ideologization by specific forces longtime. Kang Honglib was very negatively shaped with a slimy traitor, Im Gyeong-eop was shaped with a man of great cause though he leaved the battlefield. These case exceed the general standard which reflect the writer’s idea or sense of the times. It is a trace of obvious ideologicalization. The complicated situation in China at that time and Joseon’s response method were leaved in that traces. In reality, having no force for revenge, they soothed their anger by negating character in <Gangro-jeon> and maintained a political cause, Jonjudaeui, by heroizing character in <Im Gyeongeop Jeon>.

카툰에서의 의인화 캐릭터 연구

최해솔(Hae-Sol Choi),윤기헌(Ki-Heon Yoon) 한국콘텐츠학회 2015 한국콘텐츠학회논문지 Vol.15 No.8

본 연구는 수많은 콘텐츠가 생산·소비되는 현대사회에서 카툰 본연이 갖고 있는 역할적인 부분을 잃지 않고 경쟁력 있는 콘텐츠로 자리매김하기 위해서는 캐릭터의 개발이 필수요소라는 가설에서 시작되었다. 하지만 카툰에서는 캐릭터를 적극적으로 활용한 작품이나 기획이 활발하게 이루어지고 있지 않다. 카툰 캐릭터 개발 연구를 위한 기초연구로서 의인화·의인법에 대해 살펴보고, 의인화가 대표적으로 사용되는 콘텐츠인 우화에서의 캐릭터와 카툰에 등장하는 의인화된 캐릭터의 특징을 비교했다. 우화와 카툰에 등장하는 의인화된 캐릭터는 다음과 같은 특징을 지닌다. 인물이 아닌 또 다른 인격체로서 등장하며, 풍자의 대상을 직설적이지 않고 우회적인 방법으로 순화하여 표현하게 한다. 또한 특수한 상징의미를 풍자하는 대상에게 투영하는 효과를 가진다. 다의적인 해석을 가능하게 하고, 묘사의 축소와 내용을 신속하게 이해하는데 도움을 준다. 그리고 의인화라는 아이러니와 환상적인 요소는 흥미와 웃음을 유발하는 역할을 한다. This study based on hypothesis essentiality of character developing is necessary in origin role of cartoons and concern the characteristic of modern society is great many products and consumptions. On contrary to this hypothesis, characters are not importantly utilized in work and planning. As a fundamental research for developing character in cartoon, this research study for personification. Comparative study personification in fable and cartoon. The common feature underlying personification in fable and cartoon are purified expression for object of satire, putting symbolical meaning to target of satire, presenting a diversity of view, reducing descriptions, supporting to understand context easily and playing a role as make interesting and laugh with irony and fantasy.

색채, 구도, 장면 크기, 의인체 등을 통한 시각적 은유화에 의한 그림책 인물 성장

선주원(Seon, Ju-Won) 경인교육대학교 교육연구원 2018 교육논총 Vol.38 No.3

이 글은 그림책에 나타난 작중인물의 자기인식의 확장과 타자와의 소통을 통한 성장에 초점을 두어 그림의 서사적 기능을 살펴보았다. 이를 위해 그림 구도나 색채의 대비, 장면 크기나 의인체 변화 등이 인물의 상황이나 심리 변화를 효과적으로 드러내는 기능을 하며, 이러한 기능에 대한 이해는 그림책이 작중인물의 성장을 다른 장르와는 다른 방법으로 구현하는 것을 파악할 수 있는 토대가 됨을 밝혔다. 논의 과정에서 다룬 《위대한 뭉치》, 《여덟 살 혼자 떠나는 여행》, 《숲 속에서》 등은 그림 구도의 변화나 장면 크기의 변화 등을 통해 작중인물의 자기 인식의 확장과 성장의 계기 마련을 효과적으로 보여주었다. 그리고 《까만 아기 양》, 《그래도 넌 내 짝꿍》등은 주인공과 타자의 소통, 그리고 문화다양성을 지닌 존재에 대한 존중의 태도 등을 색채의 대비나 변화를 통해 잘 보여주고 있다. 아울러 《아랫집 윗집 사이에》와 《말하는 소나무》도 밝음과 어두움, 색감과 의인체 대비 등을 통해 주인공과 다른 인물들의 소통과 공감대 형성을 효과적으로 보여주고 있다. This paper looked at the narrative functions of picture by focusing on the characters’ ‘adventure/travel self-understanding’ and ‘extension of life through communication with the other’ in picture books. In particular, this study shows that contrasts in composition and color as well as changes in scene size and personification function as mediators that effectively reveal situations and psychological changes of the characters in picture books. Understanding these functions helps readers to identify the growth of the characters. 《Great bunch》, 《Eight-year-old traveling alone》, and 《In the forest》use changes of composition and scene size to indicate are the expansion of self-awareness and the chance for growth experienced by the characters in adventure or travel 《Black Baby Sheep》 and 《You re My Puppy》 use color contrasts or changes to show the heroine’s overcoming the alienation from the other, and becoming respectful to those with cultural diversity. In addition, 《Between the herbivorous house》 and 《Talking pine tree》 shows the communication and consensus formation of the hero and other characters through the lightness, the darkness, the contrast between color and personification.

이옥(李鈺)의 문학에 나타난 생태 글쓰기와 그 의미

박수밀 ( Su Mil Park ) 우리어문학회 2016 우리어문연구 Vol.54 No.-

This study is to reveal the aspects of ecological writing in Ee Ok’s works, and to find its meaning. First of all, it reviews the concept of ecological writing, and researches for the basis to investigate into his ecological writing. It is divided into three aspects of ecological writing in his literature. Firstly, EeOk considered that all things in the world are different and survive by themselves according to their own ways. The way of repetition and enumeration expression in his writings proves that all existence is valuable and worthy of deep concern as his ecological point of view. Secondly, he reflected a feature of human being through the existence of insect. He considered human and insect as the same species keeping the same attribute. So he placed the ecology of insect and the features of human in juxtaposition, carried out his own writing to introspect human inner world. Thirdly, Ee Ok stands on the position of things and talked as they talk in their position in a way of personification. Basically the prose of personification had been a way of representing intellectual refinement of noble men. But Ee Ok’s personification was to include the nature of things. After all, this study searches for the meaning of Ee Ok’s ecological writing, comparing with Yeon Am, Park Ji-Won’s ecological writing. Ee Ok and Yeon Am have similar point of view toward and about things themselves. Both have deep concern and interest in the things considered as worthless by others, took them as the objects for learning. But there is different point. Yeon Am’secological writing tended to rebuild and develop human and society, but Ee Ok’s ecological writing found the meaning on beauty of things themselves and on their ecological features. In this sense, Ee Ok is an aesthetic writer in a specific position in Korean classical literature history.

‘암시된 저자The Implied Author’와 ‘(비)신뢰성(Un)reliability 문제’ 고찰

최라영(Choi, Ra-young) 한국어문학회 2016 語文學 Vol.0 No.133

The arguments about the implied author and (un)reliability are divided into two positions: One is the reader-oriented position and the other is the author - oriented position. Scholars such as Chatman, Nünning, Yacobi argued from the former position, and scholars such as Booth, Phelan, and Shaw argued from the later one. Chatman, first of all, considered the implied author as a related matter with communication by regarding it as a subject of the organization of the ‘Narrative Communication Diagram’. After the criticism on the substantiality, later on, Chatman defined it as the ‘intent’ and weakened characteristic of the author’s ‘personification’. Nünning, on the other hand, strongly denied the concept and the function of the implied author, emphasizing diverse reference frames of the readers as its substitute. However, changing his focus to ‘unreliability’, Nünning indirectly admitted the concept afterwards by showing ‘the authorial agent’. Yacobi also emphasized the ‘implied author’ and the author-oriented ‘genetic reading hypothesis’ while arguing that the ‘implied author’ is the essence in investing the ‘unreliable narration’. Booth revealed, before his death, that he dedicated his whole life for communication. In fact, those concepts on the implied author are valid outputs, which Booth had modified through many arguments. Phelan also supported Booth’s opinion by emphasizing ‘personification’ in his later discussion. He showed a critical opinion in understanding the implied author from the functional perspective and he defined the implied author as a continual ‘authorial agency’ with emphasis on activity and personification. Later, Shaw explained the process of reader’s comprehension by replacing the ‘implied author’ with ‘narrator"s mind’ which was approved by opponent scholars. In other words, Shaw confirmed the category of the subject of actions on the right side of the diagram while imaging the ‘mind’ on the left side showing the ‘real author’, the ‘implied author’ and the ‘narrator’. Examining arguments and conversions about the ‘implied author’ and ‘(un)reliability’, it seems clear that the concept of ‘implied author’ is not only Booth’s, but it is also a complex concept composed of diverse applications, critics, supports, and renewals of Booth’s concept. Especially, the ‘implied author’ has been revived recently in the demonstrations, with the focus on Chatman’s ‘Narrative Communication Diagram’, of the complex and deeply rooted reading process of the readers. Recently, Phelan, Yacobi, and Shaw have taken both the reader-oriented position and author-oriented position and agreed that the ‘personification’ of the ‘implied author’ is necessary in the process of readers concrete apprehension. The process of communication with the ‘implied author’ has become effective to understand the narrator’s (un)reliability.