인터랙티브 광고의 효과에 관한 연구 : 텔테프레즌스의 수용자변인을 중심으로

탁진영,박정향 한국방송광고공사 2005 광고연구 Vol.0 No.68

본 연구의 목적은 인터넷 광고연구의 연장선상에서 텔레프레즌스를 중심으로 한 인터랙티브광고의 효과를 실증적으로 살펴보고, 인터랙티브 미디어 광고의 활용방안 등을 검토해 보는데 있다. 따라서, 본 연구는 수용자들이 경험하는 텔레프레즌스의 선행변인들 중 수용자변인을 중심으로 살펴보고, 이러한 요인들에 의해 생성된 텔레프레즌스의 경험이 인터랙티브 광고효과에 어떠한 영향을 미치는 지를 살펴보았다. 본 연구의 결과를 종합하면, 인터랙티브광고에 대한 관여도가 높고, 소비자의 사용기술 정도가 높을수록 텔레프레즌스의 경험정도가 높아진다는 것이 통계적으로 유의미하게 나타난 반면, 소비자의 몰입경향은 텔레프레즌스 경험정도에 영향을 미치지 않는 것으로 나타났다. 또한, 본 연구에서는 소비자들이 인터랙티브 광고에 있어 텔레프레즌스의 경험정도가 높을수록 웹사이트에 대한 태도, 브랜드에 대한 태도가 더 호의적으로 나타나고, 재방문 의사도 더 높게 나타났다. 인터랙티브 광고에 있어서 웹사이트에 대한 태도와 브랜드에 대한 태도가 호의적일수록 재방문 의사가 높게 나타났다. 한편, 텔레프레즌스가 재방문 의사에 미치는 효과계수를 살펴본 결과, 텔레프레즌스가 재방문 의사에 미치는 직접적인 효과보다는 웹사이트에 대한 태도 및 브랜드에 대한 태도를 거쳐서 재방문 의사에 영향을 미치는 간접적인 효과가 더 크게 나타났다. 아울러, 연구의 한계점과 후속연구를 위한 제언을 제시하였다. The purpose of this study was investigating the influences of interactive advertising focusing on Telepresence experience of audiences and proposing practical strategies for interactive advertising. Reviewing various preceeding variables of user experience, this study tried to empirically test the effects of Telepresence experience on interactive advertising with the audience variables. The results showed that audiences with the higher involvement on interactive advertising and the more skills about computer technology of interactive advertising indicated stronger Telepresence experience rates. However, audiences' immersive tendency toward stimulus resulted in low effects on Telepresence experiences of audience. The results also revealed that if the users had higher experience rate of Telepresence, they tended to have more favorable attitudes toward the web site and the brand. Further, this higher rate of Telepresence led the audience to higher intentions to revisit the web site. Finally, the effect coefficient of Telepresence variable on intention to revisit the web site also indicated that indirect effects via attitudes toward the web site and the brand was bigger than direct effects of Telepresence.

텍스트의 역동성과 재생산에 대한 시론(試論) ―다른 장르로의 재생산 과정(창작 경험)을 중심으로

이성준 ( Sung Jun Yi ) 한민족문화학회 2012 한민족문화연구 Vol.41 No.-

본고는 이저(W. Iser)가 구조화한 ‘문학텍스트의 소통 모델’을 보완하여, 문학텍스트의 소통과정을 구체화하고 새로운 텍스트로 재생산되는 메커니즘을 찾아보려는 시도다. 수용미학, 독자반응비평, 상호교통이론은 수용자적 측면을 부각시킨 것은 사실이지만, ‘적극적 소통’에 대해서는 소홀했고 재생산의 구체적인 메커니즘을 제시하지 못하고 있다고 생각한다. 해체와 탈장르가 보편화된 시대에 이저의 모델은 새로운 텍스트로 재생산되는 메커니즘을 구명하지 못한다. 그 점을 보완하여 ‘예술텍스트의 소통 모델’을 제시하려는 시론(試論)적인 성격이 강한 논문이다. 재생산의 메커니즘을 찾기 위해 필자의 창작 경험―소설을 시로 전환, 그림을 시로전환, 가요로 전환된 시를 다시 제3텍스트로 전환, 영화를 시로 전환―을 바탕으로 재생산 메커니즘을 살펴봄과 아울러 이저의 이론에서는 구체화되지 않은 사항들을 보완한다. 필자의 개인적 경험을 바탕으로 서술되는 만큼 주관적이고 자의적일 수 있다. 그러나 재생산 과정에서 발생하는 다양한 수용자의 심리적 반응이나 상황의 영향력 등을 살핌으로써 재생산의 메커니즘을 추적한다는 점에서, ‘문학텍스트의 소통 모델’을 ‘(전반적) 예술텍스트의 소통 모델’로 확장하여 예술간 장르 전환·변이에 대한 과정을 체계화한다는 점에서, 원-텍스트를 수용하여 새로운 텍스트로 재생산되는 과정의 메커니즘을 구체적으로 밝힌다는 점에서, 수용자가 제공자로 입장을 바꿔 새로운 텍스트를 재생산하는 과정을 추적한다는 점에서, 소통을 문학 차원에 한정하지 않고 다른 예술장르로까지 확대하여 고찰함으로써 예술간 변이·소통 양상을 살펴볼 수 있다는 점에서 의의를 가지리라 본다. This paper attempts to complement the laser structured ``literary text model of communication``, trying to find a mechanism to refine the process and the communication of a literary text are reproduced as text. That highlighted aspects of the transport theory inmates accommodate aesthetics, reader-response criticism, mutual, but in fact, draws attention to the ``active communication`` does not provide a specific mechanism of reproduction, and neglect the fact that Of the laser in the era of universal genre deconstruction and post the model to reproduce the new text does not clarify the mechanism. Paper is to complement the exam that discuss the nature of the strong. Complement my creative experience, in order to find the mechanism of reproduction of in W. Iser``s theory did not materialize. Had transformed poetry had transformed poetry, novels, picture to switch to popular songs from the poetry, and transformed back to the 3rd text based on the author``s experience, the film had transformed poetry. Is being described as based on my personal experience can be subjective and arbitrary. However, reproduction mechanism that tracks the influence of reproduction that may arise in the course of a variety of psychological reactions of audience or situation, such as the proportion of the ``communication model of the art text`` to extend ``literary text model of communication`` between the arts, genre switch systematize the process and variations on that, the mechanism of the process to reproduce a new text to accommodate the text specifically says that a prisoner providers to change and a new perspective to reproduce the text, in the process of tracking that dimension of communication literature other artistic genres, including but not limited to the point that you can look at the art among communication patterns by considering the point that you can look at the significance.

일본어로 번역된 황석영의 『손님』

이한정 ( Han Jung Lee ) 국제비교한국학회 2013 비교한국학 Comparative Korean Studies Vol.21 No.3

This study investigated how the matters related to ``Japan``, the consumer side, were translated based on the similar language structures between Korean and Japanese for The Guest, Hwang Sok-Yong`s novel translated in Japanese in 2004. The Guest is a novel which sheds new light on the Sincheon Massacre which took place in Hwanghaedo during the Korean War. The dark shadow of the Japanese colonial rule is cast over this novel. Many matters related to Japan appear here and there in the novel. In particular, Korean sentiment against Japan is reflected in ``Bongseonhwa (garden balsams)``, a song composed during the Japanese colonial rule. This song has been mentioned three times and its lyrics is inserted in The Guest. This song is translated according to the rhythm of Waka, an indigenous Japanese poetry, in the Japanese translation of The Guest. The matters related to ``Japan`` are modulated in the Japanese translation of The Guest. The terms disparaging Japanese such as ``Jap`` or ``Pigs`` Feet` and Japanese nicknames given to Korean people are translated as controlled vocabularies in the translation process, considering Japanese readers. The Japanese names of village people are not translated as shown in the Korean version of The Guest. It is a kind of consideration for receptor and reflects the desire for the ``dialogic relationship`` projected in the translation. The aspect appears as a refraction phenomenon including the unusual nature shown in translator`s postscript.

<뎡상공회방가(回榜歌)>의 작품세계와 수용자의 반응

김현식 서울대학교 규장각한국학연구원 2014 한국문화 Vol.67 No.-

This paper aims to understand the world of work of Jeongsanggonghoebangga written to congratulate ‘Hoebang’ to celebrate the 60th (diamond) anniversary of the passing of the state examination by Jeong Won­yong(1783~1873) and its audience’s responses and find the value of this work in the flow of the history of Gasa literature of the 19th century. Jeongsanggonghoebangga is a work developed together with ‘narrative, Hoehon ceremony, Hoebang banquet, eightieth birthday party and creative motivation’ from the perspective of a female writer who attended Jeong Won­yong’s Hoebang banquet. The part related to ‘Hoehon ceremony(Diamond Wedding)’ was only briefly presented to bring his happiness and wealth into relief, and the main contents are for the description of the specific procedures of the Hoebang banquet. This female writer materialized impressive scenes in the subsequent parties, staying at Jeong Won­yong’s house from February 6, 1862 when the Hoebang banquet was held through February 18 when his eightieth birthday party was held. In other words, while the writer followed the procedures of the Hoebang banquet or the eightieth birthday party from an objective perspective, she celebrates ‘temporal happiness and wealth’ of the person having Hoebang and expresses her own emotions envying him from a delicate, subjective perspective of a woman reaching particular scenes. Like this, the theme of ‘temporal happiness and wealth’ implied in Jeongsanggonghoebangga became an opportunity through which in a tough reality, it was widely received by those who craved for an ideal life. Some people accepted the work as it was and mass produced different versions with a little variation in words, while as ‘Hoebang’ is only enjoyed by particular bureaucracy, other people newly adapted it as a work like Jeongseungsanghoehonga to bring the meaning of ‘Hoehon’ which can be sympathized by more people. In other words, among the audiences of Jeongsanggonghoebangga, those with an excellent ability maintained its basic structure and changed it as a work in which the couple enjoys happiness and wealth sharing married years together till their latter years. All these can be said to be caused by the desire for ‘realistic happiness and wealth’ of the contemporary people. However, considering the fact that the period in which a specific interest in ‘temporal happiness and wealth’ in everyday space was culturally expressed was around the 19th century, the work like Jeongsanggonghoebangga that celebrates and envies Jeong Won­yong’s temporal happiness and wealth, also was written and widely enjoyed in the same cultural context.