한국 리얼리티 예능 프로그램에 대한 중국 시청자의 시청 태도 분석 - tvN <삼시세끼 어촌편 1>을 중심으로-

한기홍,김종무 커뮤니케이션디자인학회 2020 커뮤니케이션 디자인학연구 Vol.71 No.-

Korea’s hybrid reality entertainment program became a hit around the globe, opening the doors of licensing these Korean programs for other countries. In particular, the research on measuring Chinese viewers' attitude towards Korean reality entertainment programs is needed. This is especially crucial when high viewership of Korean reality programs in China with high cultural similarity and continuous income of Korean reality entertainment programs are increasing. Therefore, this study aimed to find out what kind of viewers' viewing attitudes are perceived by Chinese viewers for the reality show < Three Meals A Day-Fishing Village 1 >. This study examines what motivates Chinese viewers to watch Korean reality shows, how it affects their viewing satisfaction and their commitment, and how their satisfaction affects their viewing intention. The results of the analysis are as follows. First, the motivation source of Chinese viewers for the Korean reality entertainment program < Three Meals A Day-Fishing Village 1 > was 'solely in for entertainment', 'social interaction', 'satisfaction with entertainment as surrogate', 'avoidance of reality', 'interest of performers', 'interest of its contents'. Secondly, the effect of Chinese viewers' viewing motivation on viewing satisfaction of Three Meals A Day-Fishing Village 1, is that it resulted in the pursuit of entertainment, surrogate for gaining satisfaction, escape of reality, interest in performers, and preference for content. The factor was found to have a positive influence on the viewing satisfaction. Third, the effect of the Chinese audience's viewing motivation on the Korean reality entertainment program < Three Meals A Day-Fishing Village 1 >, resulted in the interest of the performers, the pursuit of entertainment, the escape of reality, the social exchange, and the content preference. The factor was found to have a positive influence on viewers’ engagement. Fourth, it was confirmed that viewing satisfaction and watching commitment of three-time fishing village 1 had positive influence on re-viewing intention. This study is meaningful in that it analyses the audience’s attitude of Chinese viewers for the Korean reality entertainment program that has not been performed much in China until now. The research results of this thesis meaningfully contributed to the making and improvement of reality shows in Chinese television companies.

정서적 참여와 실재(reality)의 재구성 : 한국 리얼리티 텔레비전쇼의 작동방식에 대한 고찰

윤태진 한국방송공사 2011 방송 문화 연구 Vol.23 No.2

This study begins with a simple, but important question: Why has Reality Televison Show (RTS hereinafter) been dominant in Korean television these years? A lot of scholars have been interested in similar topics, but they hardly asked the most substantial question: What is the Reality anyway? With these problematics in mind, I suggested three broad areas for research: First, the nature of the reality, which leads epistemological discussions. The second is main elements of reality in RTS’s. The final is about how these elements create a pleasure among audiences. In order to answer to these questions, I heavily depend on philosophical and logical insights, instead of detailed analysis of empirical data. Still, I reviewed three popular RTS's in Korea and inserted relevant stories about those programs into the discussion when necessary. The summary of discussion can also be presented into three categories. First, the reality does not exist objectively waiting for being found. Instead, it exists between internalization of objectivity and variable subjectivity. In RTS’s, audiences internalize everyday reality television objectifies, but at the same time, challenge the television-molded reality and construct their own reality. Second, it is the “affective participation” which takes the most important role in constructing reality. In other words, affective participation leads affective reality, which, along with perceptual reality, decides the shape of reality for each audience. Finally, I suggest three significant mechanisms leading affective participations: storytelling, voyerism, and role-change of producing staffs and casts. Korean RTS’s utilize those mechanisms, and as a result, audiences’ affective participation expands, affective realism becomes stronger, and the constructed reality is concretized.

리얼리티, 리얼리티쇼, 그리고 일상의 테크놀로지로서의 리얼리티

이희은 사단법인 언론과 사회 2023 언론과 사회 Vol.31 No.3

Originally started as a genre in the television industry, reality shows are now expanding to various media platforms as well as television. This paper reviews the flow of academic discussion on reality shows and the concept of reality while summarizing research on reality shows over the past 20 years. Studies on reality shows have mainly focused on case studies on texts and analysis on production and audiences. However, the diversified expansion of media technology and platforms suggest the need to study reality shows in a wider media environment and everyday context. The three-layered reality concept of entertainment emotion, absence of narrative, and idealized fantasy constituted a reality show as a genre. The paper critically examines that reality as a realistic composition has operated in a way that hides reality while reproducing everyday reality. Therefore, it argues that reality should be understood not as a concept referring to a single program or genre, but as a technology operating within our everyday life. ‘Reality as technology’ refers to the experience and use of media technology that is the most attractive and empathetic and free to reconstruct and reprocess that can be realized using available technology. This suggests the need to expand the scope of research beyond television to various media and everyday reality technologies 텔레비전 산업의 한 장르로 출발했던 리얼리티쇼는 이제 텔레비전뿐 아니라 여러 미디어 플랫폼으로 확장해 나가고 있다. 이 글은 지난 20여 년 동안의 리얼리티쇼 연구를 개괄하면서 리얼리티쇼와 리얼리티의 개념에 대한 학술적 논의의흐름을 검토한다. 리얼리티쇼에 대한 연구는 주로 텍스트 사례 분석과 생산 과정 및 수용방식에 대한 분석에 집중되어왔다. 그러나 미디어 기술의 발전과 플랫폼의 확장은 리얼리티쇼를 더 넓은 미디어와 일상의 맥락에서 연구할 필요성을 제시한다. 오락적 감정, 서사의 부재, 이상화된 환상이라는 세 층위의 리얼리티 개념이 장르로서의 리얼리티쇼를 구성했다면, 사실적 구성으로서의 리얼리티는 실제를 재현하면서 실재는 감추는 방식으로 작동해왔음을 비판적으로 살핀다. 하나의 프로그램이나 장르에만 적용되는 개념으로서의 리얼리티가 아니라, 오늘날의 일상에 작동하는 테크놀로지로서 리얼리티를 이해해야 할 필요가있다. ‘테크놀로지로서의 리얼리티’는 가용한 기술을 활용하여 구현할 수 있는가장 매력적이고 공감 가능성이 크며 재구성과 재가공이 자유로운 미디어 테크놀로지의 경험과 활용을 의미하며, 이는 텔레비전을 넘어서 여러 미디어와 일상의 리얼리티 기술로 연구의 범위를 확장할 필요성을 제안하는 것이다

애니메이션의 실재성에 관한 담론 연구

이용수 한국만화애니메이션학회 2020 만화애니메이션연구 Vol.- No.59

Animation is not a media form which seeks picturesque reality. But we can still discuss about reality of animation. Probably, it is considered a kind of different aspect from general meaning of reality. We generally evaluate reality of animation on the quality of story plausibility or movement smoothness rather than likeness of visual form. Basically, we can criticize on reality but not discuss conceptually. It is because we has considered reality as degree of likeness between references and objects. However, this kind of likeness is not a valid concept on philosophical and academical aspects. We have a base on which we can consider reality as a comprehensive feeling that we all share. If we reconsider reality as emotional sympathy through this base, we can easily refute the general idea that animation has sought a different or isolated kind of reality from general. Shifting the perspective, reality become a thing expressed from distinction not likeness. This is not only strategy of animation. This paper will prove that differentiation of reality and exaggeration is useless notion in an academical aspect through documentary survey and case studies. reality of animation generally reveals through exaggeration of movement, and it is a strategy related to manipulation of sensory ratio and emotional line of a certain scene. The purpose of the paper is in thinking more basically and conceptually about why the exaggeration comes to be distinguished and customized. 애니메이션은 사진적 리얼리티를 추구하는 미디어 형식은 아니다. 하 지만 그렇다고 애니메이션에서 리얼리티를 논하지 않는 것은 아니다. 아 마도 일반적으로 생각하는 리얼리티의 의미와는 조금 다른 측면에서 다루 어지고 있는 것 같다. 대체적으로, 애니메이션의 리얼리티는 시각적 형상 의 닮음보다는 스토리의 개연성, 움직임의 부드러움 같은 미덕에 근거해 서 평가되고 있는 것 같다. 기본적으로 리얼리티는 비평할 수는 있어도 개념적으로 논할 수 있 는 영역은 아니었다. 이는 표상과 대상이 얼마나 닮아 있는가 하는 핍진 성을 리얼리티의 중심으로 보아 왔기 때문이었다. 그러나 핍진성은 철학 적으로나 학술적으로 타당한 개념이 아니다. 리얼리티라는 것을 하나의 공동체가 공유하는 감정의 포괄적 실체로 볼 수 있는 근거가 있다. 그 근 거를 통해서 리얼리티라는 개념을 정서적 공감이라는 측면에서 재고할 수 있다면, 애니메이션이 일반적 인식과는 동떨어진, 또는 다른 종류의 리얼 리티를 추구한다는 일각의 생각을 충분히 반박할 수 있을 것이다. 관점을 바꾸면, 리얼리티는 유사성이 아니라 차이로부터 발현되는 것이 된다. 이 는 비단 애니메이션만의 리얼리티 전략이 아니다. 본 논문은 문헌조사와 사례를 통해 실재성과 과장성이라는 이분법적 구도가, 최소한 개념적으로는, 무력한 구도라는 점을 논증한다. 애니메이 션의 실재성은 주로 움직임의 과장성을 통해서 드러나며, 그 과장성은 감 각비율의 조작과 관련된 전략이며 장면의 감정선과 조화하여 드러난다. 본 논문의 목적은 애니메이션의 리얼리티로서의 과장성이 어떤 이유로 해 서 발현되고 고착된 것인지를 좀 더 개념적으로, 근본적으로 사유해 보는 데에 있다.

혼합 현실 서비스의 GUI(Graphic User Interface) 디자인 스타일 연구

박진홍(Park, Jin Hong),김헌(Kim, Hun) 한국디자인문화학회 2017 한국디자인문화학회지 Vol.23 No.2

IT 분야에서 얘기하는 증강 현실(Augmented Reality)과 혼합 현실(Mixed Reality)은 최근 몇 해 사이 가상현실(Virtual Reality)에 이어서 모바일, 자동차, 쇼핑 등에서 주요한 멀티미디어 콘텐츠 산업으로 각광받으며 널리 활용되고 있다. 본 연구는 ‘폴 밀그램’과 ‘후미오 키시노’ 교수의 ‘현실–가상 연속체 (Reality-Virtuality Continuum)’ 라는 개념에서 정의한 혼합 현실을 주제로 조사하였다. 혼합 현실의 사용성을 높이기 위해서는 현실 세계와 가상 오브젝트를 식별할 수 있게 도와주는 디자인요소가 필요하다는 전제하에, 실제 서비스 되고 있는 대표적인 혼합 현실 서비스와 그것을 지향하는 컨셉 이미지들을 GUI(Graphic User Interface) 디자인 측면에서 조사하였다. 조사 결과를 바탕으로 현실 세계와 가상 오브젝트를 구분하는 GUI(Graphic User Interface) 디자인 요소를 찾아보았으며, 총 5가지(Dim 효과, 유리 효과, 발광 효과, 그림자 효과, 외곽선 효과) 요소가 쓰이고 있는 것을 알 수 있었다. 본 연구자는 5개의 GUI디자인 요소를 반영한 5개의 예시 이미지를 제작한 후, 사용자를 대상으로 각각의 선호도와 사용성을 평가하는 설문 조사를 실시했다. 조사 결과는 어두운 배경 요소를 활용하는 ‘Dim효과’가 혼합 현실 콘텐츠에 가장 적합하고, ‘발광 효과’가 가장 부적합한 것으로 나타났으며, 이러한 결과가 향후 혼합 현실 서비스 개발에 필요한 자료로 활용되고자 한다. In recent years, Augmented Reality and Mixed Reality, which are well known in IT field, is becoming a major multimedia contents widely used in mobile, car and shopping industries as a successor of Virtual Reality contents. This essay mainly deals with Mixed Reality which was defined in the concept of ‘Reality –Virtuality Continuum’ by Paul Milgram and Fumio Kishino in 1994. Under the premise that the design element helping people tell apart Reality and Virtual object is needed to increase usability of Mixed Reality, this essay contains a case study on well-known Mixed Reality services and a research on GUI(Graphic User Interface) concept images used for Mixed Reality. According to the research I figured out there are 5 types of GUI design element (Dim Effect/ Mirror Effect / Glow Effect / Shadow Effect / Stroke Effect) to distinguish between Reality and Virtual object. I made 5 sample images for 5 types of GUI design element and carried out a survey to analyze what users prefer to and how users valuate its usability. Consequently it came out that ‘Dim Effect’ using darker backdrop is the most suitable for Mixed Reality among 5 types and ‘Glow Effect’ is an opposite. This result would be useful for those who want to produce Mixed Reality contents and services hereafter.

Effect of Immersive Virtual Reality Environments on Postural Stability in Healthy Young Subjects

김주상,이미영 대한물리치료학회 2025 대한물리치료학회지 Vol.37 No.1

Purpose: This study compared the postural stability in real and virtual reality in healthy adults and examined the effects of the visual environmental conditions in virtual reality on postural stability. Methods: Thirty healthy adults in their 20s participated in the experiment. The postural stability was assessed by the excursion of the center of pressure (COP) in tandem standing under a real environment and under the environmental conditions of virtual reality. The subjects performed tandem standing in random order under each environmental condition. The learning effect in the measurement was reduced by taking measurements between each environmental condition four times, four weeks in total, and at one-week intervals. Results: No significant difference in the sway area, anterior-posterior sway, and left-right sway was observed between the real environment and indoor virtual reality. In addition, there was no significant difference in postural stability between the three environmental conditions of virtual reality. The post-hoc test revealed significant differences in the sway area and anterior–posterior sway between the indoor and outdoor low floors of virtual reality. In the outdoor high floor of virtual reality, a significant difference in postural stability was observed between the indoor and outdoor lower floor of virtual reality, respectively. Conclusion: No significant difference was noted when comparing the postural stability in reality and virtual reality using head-mount displays (HMD), suggesting that difficult or dangerous tasks can be implemented in virtual reality. In addition, various balance training methods can be applied clinically using the errors in postural stability because of the significant difference depending on the environmental conditions of virtual reality.

The GermiNation in the Narration of Colonial Reality: The Two Cases of Conrad and Joyce

길혜령 한국제임스조이스학회 2009 제임스조이스저널 Vol.15 No.2

Both Conrad and Joyce can be designated as colonial modernists, as the modernity of their texts represents the nationality of Poland and Ireland, which was suppressed by the colonial rule of Russia and Britain, respectively. In Conrad’s and Joyce’s text, the individual is equivalent to the nation or the traditional community—the individuality of which is shackled by colonization. In this respect, the conflict narrated in Conrad and Joyce between the individual and the community, both in struggle, signifies the conflict within the colonized nation between its ideal—or national consciousness—and its reality. The conflict is resolved when the idealistic protagonist recognizes and integrates the colonial reality into a new reality of nation. Conrad and Joyce, thus, aspire for the creation of a new reality, or at least, the recognition of colonial reality throughout their narratives. In Conrad’s narrative, the strongly idealistic protagonist who struggles with the reality of “darkness” represents, though symbolically, the radically democratic ideology of the Polish Republic fighting with its autocratic reality. With the reality of Eastern autocracy being unacceptable and the ideal of Western democracy having failed, Conrad’s heroes who deny the reality are doomed, which ironically endorses the reality and potentially suggests hope for the Polish nation. In Joyce’s narrative, on the other hand, the protagonists, such as the poor artist Stephen and the Jewish advertising-man Bloom, embody the reality of colonial Ireland as much as its national consciousness, which is yet to be created. In other words, Joyce accepted the colonial reality, from which he created the “conscience” or consciousness of the Irish race that had never been a sovereign nation, unlike Conrad’s Poland. Joyce’s Bloom, who integrates the Jewish individual consciousness and Irish communal reality, personifies a vision of the Irish nation. Both Conrad and Joyce can be designated as colonial modernists, as the modernity of their texts represents the nationality of Poland and Ireland, which was suppressed by the colonial rule of Russia and Britain, respectively. In Conrad’s and Joyce’s text, the individual is equivalent to the nation or the traditional community—the individuality of which is shackled by colonization. In this respect, the conflict narrated in Conrad and Joyce between the individual and the community, both in struggle, signifies the conflict within the colonized nation between its ideal—or national consciousness—and its reality. The conflict is resolved when the idealistic protagonist recognizes and integrates the colonial reality into a new reality of nation. Conrad and Joyce, thus, aspire for the creation of a new reality, or at least, the recognition of colonial reality throughout their narratives. In Conrad’s narrative, the strongly idealistic protagonist who struggles with the reality of “darkness” represents, though symbolically, the radically democratic ideology of the Polish Republic fighting with its autocratic reality. With the reality of Eastern autocracy being unacceptable and the ideal of Western democracy having failed, Conrad’s heroes who deny the reality are doomed, which ironically endorses the reality and potentially suggests hope for the Polish nation. In Joyce’s narrative, on the other hand, the protagonists, such as the poor artist Stephen and the Jewish advertising-man Bloom, embody the reality of colonial Ireland as much as its national consciousness, which is yet to be created. In other words, Joyce accepted the colonial reality, from which he created the “conscience” or consciousness of the Irish race that had never been a sovereign nation, unlike Conrad’s Poland. Joyce’s Bloom, who integrates the Jewish individual consciousness and Irish communal reality, personifies a vision of the Irish nation.

증강현실 기반 모바일 교육 콘텐츠의 교육적 활용에 관한 연구

이지혜(Lee, Ji Hye) 한국디자인문화학회 2018 한국디자인문화학회지 Vol.24 No.1

Augmented reality technologies have quickly become one of the most popular technologies due to the popularization of smartphones, and a variety of contents development and utilization has been actively carried out. Especially, practical learning effect part of education field is recognized and growing fast that is advantage of augmented reality. In particular, applications for educational contents through mobile infrastructure augmented reality that is highly accessible and compatible are actively developed. However, the study on the learner’s view of mobile-based augmented reality education content based solely on its content has not yet been systematic. This study aims to identify characteristics unique to an augmented reality environment for user assessment and usability assessment in creating more efficient mobile based education contents in the future, and to provide guidelines on assessment items. To that end, we first developed an augmented reality assessment application based on the usability assessment application based on the similar augmented reality assessment method to identify the characteristics of augmented reality through a preliminary study. For this, the augmented reality environment is a usability assessment element, which is added to the usability assessment, adding to the usability assessment, which is a reality assessment, taking into account the difference between the usability assessment part of virtual reality and the augmented reality interface with virtual reality. They were also based on specific assessment items, based on physical apperdences, cognitive appendances, and functional appendances that interpret the relationship between the user interface and functional, physical attributes. Based on this, the final 19 assessment items were evaluated by experts. The real-world applications were based on the search results of Google and Naver, and the tenth-largest education applications by the number of users. As a result, the current holistic approach of augmented reality applications has been shown to depend on visual input, with a high degree of satisfaction with the learner’s curiosity and satisfaction with the architecture being a high point of education. It also revealed that learners should improve themselves or feedback on errors and satisfaction with learning depending on the difficulty of learning. In particular, there were many improvements in the quality of interface design focusing on developers between multimedia elements and contents. Learning with the more efficient mobile incrementing reality education app requires understanding the professional augmented reality of the instructors and completion of relationships with other technical elements.

증강현실의 의미적 개념과 종교적 믿음의 관계에 관한 고찰 - 성경에 기록된 사건을 중심으로 -

이기호 한국만화애니메이션학회 2019 만화애니메이션연구 Vol.- No.54

Due to the Fourth Industrial Revolution, IT technology has a huge influence and dominates society as a whole. Among them, "Virtual Reality (VR)" has brought virtual or imaginary world into reality by enhancing expressiveness of computer graphics technology. Augmented Reality (AR), which is similar to this virtual reality technology, is one of the technologies recently attracted by mixed reality contents which is a mixture of reality and virtual images. In order to use this augmented reality, a media display device capable of running a program such as a smart device is required. When a specific image of reality is illuminated through the camera of this apparatus, various types of augmented reality contents previously produced by the program are displayed. The data shown at this time is matched with the image of the real world, and it appears as if it exists in the place. Because it is data that can only be seen through special media, we can not usually see it with our eyes. 'To see' should be premised on the light. This is not what I see as I see it, but through the 'light that shows' as much as we can see. That is, it does not exist and does not exist. We can not see directly with our eyes, but the digital data that make up the content exists in its own way in the space. The Fourth Industrial Revolution has enabled us to directly identify and feel electronic data that we could not have seen in the past through human eyes through special media. Faith has to do with the invisible world. God can not be seen by the human eye, and nobody can prove his existence. Faith is evidence of things we do not see. The proof that there is something invisible is the fact that we believe it. Through the meaning of 'augmented reality' that makes us know that we are invisible but exists, the interpretation of 'faith' from the modern point of view is the core of our research. The subject of the study deals with the story of the prophet "Elisha" appearing in the Book of Kings of the Old Testament in the Bible. The account recorded in 2 Kings 6: 8-17 shows that the king of Syria besieged Dothan, and at this time Elisha saw that the God of heaven descended and kept him, but his servant, Gehazi, A phenomenon that can not be seen is recorded. This is a scene that is supposed to be a dramatic visual effect of God's work and is very similar to the conceptual nature of augmented reality. The reality we are seeing can be seen as being experienced, perceived, and believing. In other words, even our reality can be explained as the illusion if there is no eye. Augmented reality is a problem of interaction for the continuity of the real world and the virtual world, and it is on the same line with the problem of cognitive science that grasps the essence of the interaction of human mind and artifact. The conclusion of this study is that first, 'seeing' is not our will but limited cognitive activity in a given environment. Second, 'faith' becomes a medium of modern conception that can be seen by God. Third, the augmented reality is present, but by using special media to make invisible data visible to reality, it is consistent with the modern interpretation of the Bible, "The truth of things hoped for and evidence of things not seen" (Hebrews 11: 1) Can be. 4차 산업혁명으로 인해 IT기술은 막대한 영향력을 행사하며 사회 전반을 지배하고 있다. 그 중 ‘가상현실(Virtual Reality, VR)’은 컴퓨터 그래픽 기술의 표현력 향상에 힘입어 불가능하거나 비현실적 세계를 가상으로 만들어내게 되었다. AR/AR을 이용하기 위해서는 스마트 기기 등 소프트웨어 구동이 가능한 미디어 디스플레이 장치가 필요하다. 이러한 매체를 통해서만 볼 수 있는 데이터이기 때문에 일반적으로 인간의 눈만으로는 콘텐츠를 볼 수가 없다, ‘본다’는 것은 빛이 전제되어야 한다. 이는 내가 보고 싶은 만큼 보는 것이 아니라, 보여주는 만큼만 보게 되는 것이다. 즉, 볼 수 없다고 존재하지 않는 것은 아니다. 우리의 눈으로 직접 볼 수 없을 뿐, 콘텐츠를 구성하는 디지털 데이터는 무선 통신 기술의 힘으로 공간에 자신만의 방법으로 존재하고 있는 것이다. 기술은 바로 우리가 과거에는 직접 볼 수 없었던 전자 데이터들을 특별한 매체를 통해 인간의 눈으로 직접 확인하고 느낄 수 있도록 해주었다. 종교적 믿음은 보이지 않는 세계와 관련이 있다. 보이지 않는 것들이 존재한다는 증거는 우리가 그것을 믿고 있다는 사실이다. 다시 말해 종교적 믿음은 보지 못하는 것들의 증거가 된다. 눈에 보이지 않지만 존재하고 있음을 알게 해주는 ‘증강현실’의 의미를 통해 종교적 ‘믿음’에 대한 현대적 관점에서의 해석이 본 연구의 핵심이다. 연구의 대상은 성경에 기록된 사건 중 구약성경 열왕기 하권에 등장하는 예언자 엘리사에 관한 이야기를 다룬다. 열왕기하 6장 8절에서 17절에 기록된 내용은 아람왕이 도단성을 포위한 사건으로 이 때에 ‘엘리사’는 하나님의 천군이 내려와 지켜주고 있음을 보고 있으나, 그의 종인 게하시는 보지 못하는 현상이 기록되어 있다. 이 사건은 하나님의 역사함이 인간의 눈에 극적인 시각 효과로 나타났을 것으로 추측되는 장면이며, 증강현실의 개념적 성격과 매우 유사한 장면이다. 증강현실은 현실세계와 가상세계의 연속성을 위한 상호작용에 대한 문제이며 나아가 사람의 마음과 인공물의 상호작용의 본질을 파악하는 인지과학의 문제와 같은 선상에 놓여 있다고 볼 수 있다. 본 연구의 결론은 첫째, ‘본다’는 것은 우리의 의지가 아니라 주어진 환경 내에서 제한적으로 허락된 인지작용이라는 것이다. 둘째로, 따라서 ‘믿음’은 하나님이 보여주고자 하는 것을 볼 수 있는 종교적 관점의 매체이다. 셋째, 증강현실의 특성은 “바라는 것들의 실상이요 보지 못하는 것들의 증거”(히 11:1)라는 성경말씀의 의미에 적합한 표현방법임을 수 있다.

Perspectives on the Parameters of Fictional Reality in Drama

Gi Chan Yang 국제언어인문학회 2012 인문언어 Vol.14 No.1

Perspectives on the Parameters of Fictional Reality in Drama Gi Chan Yang (University of Suwon) The definition of what is ‘fictive’, ‘fiction’ and thus ‘fictional’ today is a definition in constant change. Traditionally, the definition of fictive and what may constitute as fictional, is whether the suggested and proposed is ‘accepted’ as real or the suggested and proposed is ‘considered’ as real. This paper proposes to discern how fictional reality manifests in a dramatic environment, especially in that of the Avant-garde environment. In traditional fictional reality the fictive image that was presented as ‘being’ real was comprehended as such, but in the dramatic reality fictive image created is more psychologically based. In the Avant-garde theater the fictional reality manifests in a different manner, the reality is based on psychology. The fictional reality depends on the universalism in creating on stage the actualness needed. Comparing what is accepted and what may be accepted as real may be suggestive of the difference between traditional fictional reality and dramatic reality: acceptance through recreation of minute details of an actual reality to psychological acceptance of a fictive representation. Avant-garde theaters in this sense opens a new door in the parameters of fictional reality that goes against the traditional methods of defining the fictional reality.