The effect of different aspects of audience on Korean EFL university learners’ L2 writing performance

Jee Eun Kim 한국응용언어학회 2021 응용 언어학 Vol.37 No.2

Although audience awareness, or consideration of the intended audience, has been widely accepted as a critical part of any effective writing, the ability to write audience-appropriate texts has gained little attention in EFL writing instruction. The present paper investigates the impact of different audiences on the writing performance of Korean EFL learners with intermediate to advanced level of language proficiency focusing on the quality of audience awareness. Drawing on Grabe and Kaplan’s (1996) framework of audience, this study incorporated audiences having a high or low level of familiarity with the writers and being more or less knowledgeable on a given topic in email and argumentative writing tasks. Thirty-seven Korean EFL university learners completed two writing tasks and two questionnaires. Their analytic writing scores including scores for the criterion of audience awareness were statistically analyzed and examined together with the responses to audience-related strategy questionnaires. While no statistically significant effect was found for the audience, results collectively indicated that Korean EFL writers were limited in their ability to generate audience-adapted writing. Findings of the study provide pedagogical implications highlighting the importance of cultivating audience awareness in L2 writers.

Korean Graduate Students’ Audiences for Their English Academic Writing: To Whom Do They Write and How?

임현우 한국영어어문교육학회 2008 영어어문교육 Vol.14 No.4

The present study investigated first-year graduate students’ considerations of audience for their English academic writing and their attempts to accommodate the audience expectations. Eight first-year master’s students in English education were interviewed based on their English academic papers before and after an on-line discussion conducted to raise the writers’ awareness of audience. Three thematic domains emerged from the data: (a) audience determinateness, (b) the writer’s positioning in relation to audience, and (c) audience specification. Under the first domain, three different types of audience including the professor-evaluator as a real reader, audience as an extended self-projection, and textually implied audience were identified. Each type of audience was suggested to influence the different, hierarchical levels of writing. The second domain included two categories: (a) authoritative audience versus friendly/uninformed audience and (b) audience as addressee versus audience as beneficiary. The writers’ posited relationships with audiences were suggested to establish differential motivations for writing. The third domain represented the degrees to which the writers have specified representations of audience. Broad and vague idea on audience could result in limited information and simplistic arguments in the text. Based on the study findings and discussions, pedagogical implications are provided.

Theatre of the Audience

Jin, Youngjong(진영종) 한국동서비교문학학회 2009 동서 비교문학저널 Vol.0 No.21

  The play texts of English early modern theatre and Korean ground theatre in 1970s and 1980s are primarily for performance. Theatrical performance inevitably presupposes the audience. Thus, both theatres might well understood as the theatre of the audience in this respect. Therefore, how to accommodate the audience to the world of play comes to be primary concern of performance.   To accommodate the audience to the play world, both theatres tried out new experimentation. In this paper, the new experimentation of both theatres are scrutinized to illustrate the similarities between two theatres. In Fulgens and Lucres and Jindongah Gut, a certain dramatic character plays a role of mediator between the world of play and the real world. In both plays, it is clearly demonstrated that the audience has an overall control over the performance and the moderator, as an actor as well as a member of the audience, are mediating the world of play and the real world of the audience from the viewpoint of the audience.   The Old Wife’s Tale and Jinohgui Gut are approached from the perspective of the audience within the audience. The unique dramatic characters, the narrator in The Old Wife’s Tale and the commentator in Jinohgui Gut, dominate the general progress of the performance to a large extent. Both of the characters are neither the characters of the main play nor the audience of the main play. They move from the world of play and the real world, in other word, they are between the two worlds. They sit on the margin of the stage. Thus, the position of these two characters also reinforces their role from the audience’s viewpoint.   Two Shrew Plays are scrutinized to clarify the frame structure of Shakespearean theatre. Even though it is traced that the focus is moved from the audience to dramatic illusion, the audience perspective is still recognized in Shrew Plays. In Korean ground theatre, the general framing structure is very notable: Apuri, Bonpuri and Duepuri. The frame structure of Shakespearean theatre and Korean ground theatre also illustrate that their primary emphasis is put on the audience. Even though two theatres are very different in period and the subject matters, there are lots of similarities when they are approached from the viewpoint of the audience.

무용수들의 관객인지에 따른 상태불안

신혜숙 ( Hea Sook Sin ),손주희 ( Joo Hee Sin ) 대한무용학회 2008 대한무용학회논문집 Vol.56 No.-

The objective of the present study was to survey dancers` awareness of audience, and their state anxiety according to the awareness, and by doing so, to obtain data for improving the communication and the effect of dancers` performances. For this study, we surveyed and analyzed state anxiety according to audience awareness in 255 dancers including 108 students majoring in Korean dance, 72 in ballet, and 75 in contemporary dance, and drew conclusions as follows. First, as to audience awareness and state anxiety according to personal characteristics, audience awareness according to major was higher in students majoring in ballet but the difference was not significant. On the other hand, state anxiety was significantly higher in students majoring in contemporary dance, followed by Korean dance and ballet. According to school year, audience awareness was highest in sophomores but the difference was not significant. State anxiety was highest in sophomores, followed by freshmen, seniors, juniors and graduate students, and the difference was significant. According to the frequency of performances, audience awareness was significantly higher in students performing once a month, followed by once in every six months, once a week, and once a year. On the other hand, state anxiety was high in students performing once a week, but the difference was not significant. Second, in the results of correlation and multiple regression analysis on audience awareness and state anxiety, audience awareness showed a significant correlation with state anxiety. As to state anxiety according to the sub-factors of audience awareness, the "dancer-centered" factor of audience awareness had a significant effect on strain and overstrain of state anxiety, and the "conversation with audience" factor of audience awareness had a significant effect on arousal and strain of state anxiety. As presented above, dancers` audience awareness worked regardless of major and school year, but was very passive without flow and interaction with audience, and dancer-centered performance had an effect on dancers` state anxiety. Therefore, it is necessary to provide dance students with opportunities to attune themselves and interact with audience at least once a month even at a small theater so that they resolve anxiety about the stage and develop flow and confidence in performance. Furthermore, it is required to survey dance performers` perception on audience in order to get information for enhancing the quality of dance performances, developing art performances recognizing audience`s potential, and providing important socio-cultural materials.

Korean Graduate Students’ Audiences for Their English Academic Writing : To Whom Do They Write and How?

Hyun-Woo Lim 한국영어어문교육학회 2008 영어어문교육 Vol.14 No.4

The present study investigated first-year graduate students’ considerations of audience for their English academic writing and their attempts to accommodate the audience expectations. Eight first-year master’s students in English education were interviewed based on their English academic papers before and after an on-line discussion conducted to raise the writers’ awareness of audience. Three thematic domains emerged from the data: (a) audience determinateness, (b) the writer’s positioning in relation to audience, and (c) audience specification. Under the first domain, three different types of audience including the professor-evaluator as a real reader, audience as an extended self-projection, and textually implied audience were identified. Each type of audience was suggested to influence the different, hierarchical levels of writing. The second domain included two categories: (a) authoritative audience versus friendly/uninformed audience and (b) audience as addressee versus audience as beneficiary. The writers’ posited relationships with audiences were suggested to establish differential motivations for writing. The third domain represented the degrees to which the writers have specified representations of audience. Broad and vague idea on audience could result in limited information and simplistic arguments in the text. Based on the study findings and discussions, pedagogical implications are provided.

과학영역의 작문에서 예상독자 유형과 은유의 전략

박영민 국어교육학회 2003 國語敎育學硏究 Vol.16 No.-

이 글은 과학영역의 작문에서 상정하고 있는 예상독자의 유형과, 내용 구성 방법으로서의 은유의 전략에 대해서 검토하였다. 그 결과, 과학영역 작문의 예상독자의 유형은 일상적 수준의 예상독자 사회화 이전 단계의 예상독자, 사회화 단계의 예상독자, 탈사회화 단계의 예상독자로 구분되었다. 이 구분은 담화공동체와의 관련성을 기준으로 삼은 것이다. 예상독자의 유형은 텍스트의 내용 구성에 영향을 미치는데, 과학 영역의 작문에서는 은유의 전략이 내용 구성의 방법으로 활용되고 있음을 확인하였다. 은유의 전략은 예상독자 유형에 대응하면서, 일상적 수준의 예상독자에게는 내용을 쉽게 이해하는 방법으로, 사회화 단계 이전의 예상독자에는 학습의 대상으로, 사회화 단계의 예상독자에게는 이론의 입론 및 설명의 방법으로, 탈사회화 단계의 예상독자에게는 이론의 비판과 새로운 해석의 방법으로 활용되었음을 알 수 있었다. 이러한 결과는 정보를 전달하는 글의 작문을 어떻게 지도할 것인가 하는 문제에 대해 몇 가지 시사를 얻을 수 있다. 우선, 예상독자를 분명하게 인식하는 노력이 필요하다. 그 다음으로, 내용 구성의 전략에 대한 학습을 계획적으로 수행해야 할 것이다. 이 글에서는 내용 구성의 전략으로서 은유의 전략만을 논의하였는데, 이외에 더 다양한 전략들이 분석적으로 설정되어야 할 것이다. 이러한 내용들은 작문학습뿐만 아니라 학습작문과 생활작문에서도 유용하게 활용될 것으로 기대된다. This paper investigates audience type and metaphor strategy of the writing in science area. the audience type is divided into 'non-socialized audience', 'pre-socialized audience , socialized audience', 'post-socialized audience'. This division is connected to the relationship of audience and discourse com- mmunity. The audience type effect on the strategies of content construction. This paper focused on metaphor strategy among them of content construction, and proved it' s function as the strategies of content construction.The function of metaphor strategy follows : promoting content comprehension to 'non-socialized audience', learning discourse conventions and ass-umptions to 'pre-socialized audience', building and explaining the theories to 'socialized audience', criticizing and inter-preting newly the theories to 'post-socialized audience. This paper's results are utilized to teach informative writing. The first. guiding the student writer to aware audience in writing context, the second teaching to use the strategies of content construction according to audience type.

인터랙티브 드라마의 시청동기, 몰입, 시청만족도, 시청충성도 간 관계에 관한 연구: 중국 시청자를 중심으로

두정,김성경,임성준 강원대학교 경영경제연구소 2022 Asia-Pacific Journal of Business Vol.13 No.3

Purpose - The purpose of this study is to understand the motivating factors of Chinese audience who watch the interactive drama, and suggest the effects of audience’ motivation on viewing flow, satisfaction, and loyalty. Design/methodology/approach - To achieve the purpose of the study, a questionnaire survey on the Internet was conducted from September 26, 2021 to October 14, 2021, and data from 332 Chinese respondents were collected. Findings - Findings of this study are 1) audience motivation of watching the interactive drama is composed of 6 factors including the pursuit of entertainment and information, curiosity, interaction, sense of control and indirect experience; 2) the pursuit of entertainment and information, interaction and indirect experience have positive effects on viewing flow; 3) all six factors of audience motivation have positive effects on audience satisfaction; 4) four motivating factors including the pursuit of entertainment, curiosity, interaction and indirect experience have positive effects on audience loyalty. 5) viewing flow and audience satisfaction respectively has some partial mediating effects on the relationship between audience motivation and audience loyalty. Research implications or Originality - Results of this study suggest that in order to increase audience loyalty to interactive dramas, in addition to fulfilling the pursuit of entertainment, which is the basic motive for watching any drama, it is important to fulfill motivating factors related to the unique characteristics of interactive dramas such as curiosity, interaction, and indirect experience. In order for these motivating factors to lead to audience loyalty, it is more effective when viewing flow and audience satisfaction are accompanied.

Theatre of the Audience: English Early Modern Theatre and Korean Ground Theatre

진영종 한국동서비교문학학회 2009 동서 비교문학저널 Vol.0 No.21

The play texts of English early modern theatre and Korean ground theatre in 1970s and 1980s are primarily for performance. Theatrical performance inevitably presupposes the audience. Thus, both theatres might well understood as the theatre of the audience in this respect. Therefore, how to accommodate the audience to the world of play comes to be primary concern of performance. To accommodate the audience to the play world, both theatres tried out new experimentation. In this paper, the new experimentation of both theatres are scrutinized to illustrate the similarities between two theatres. In Fulgens and Lucres and Jindongah Gut, a certain dramatic character plays a role of mediator between the world of play and the real world. In both plays, it is clearly demonstrated that the audience has an overall control over the performance and the moderator, as an actor as well as a member of the audience, are mediating the world of play and the real world of the audience from the viewpoint of the audience. The Old Wife’s Tale and Jinohgui Gut are approached from the perspective of the audience within the audience. The unique dramatic characters, the narrator in The Old Wife’s Tale and the commentator in Jinohgui Gut, dominate the general progress of the performance to a large extent. Both of the characters are neither the characters of the main play nor the audience of the main play. They move from the world of play and the real world, in other word, they are between the two worlds. They sit on the margin of the stage. Thus, the position of these two characters also reinforces their role from the audience’s viewpoint. Two Shrew Plays are scrutinized to clarify the frame structure of Shakespearean theatre. Even though it is traced that the focus is moved from the audience to dramatic illusion, the audience perspective is still recognized in Shrew Plays. In Korean ground theatre, the general framing structure is very notable: Apuri, Bonpuri and Duepuri. The frame structure of Shakespearean theatre and Korean ground theatre also illustrate that their primary emphasis is put on the audience. Even though two theatres are very different in period and the subject matters, there are lots of similarities when they are approached from the viewpoint of the audience.

그룹 몰입도 판단을 위한 움직임 동기화 연구

류준모(Joon Mo, Ryu),박승보(Seung-Bo, Park),김재경(Jae Kyeong, Kim) 한국지능정보시스템학회 2013 지능정보연구 Vol.19 No.1

Recently, the high value added business is steadily growing in the culture and art area. To generated high value from a performance, the satisfaction of audience is necessary. The flow in a critical factor for satisfaction, and it should be induced from audience and measures. To evaluate interest and emotion of audience on contents, producers or investors need a kind of index for the measurement of the flow. But it is neither easy to define the flow quantitatively, nor to collect audience’s reaction immediately. The previous studies of the group flow were evaluated by the sum of the average value of each person’s reaction. The flow or “good feeling” from each audience was extracted from his face, especially, the change of his (or her) expression and body movement. But it was not easy to handle the large amount of real-time data from each sensor signals. And also it was difficult to set experimental devices, in terms of economic and environmental problems. Because, all participants should have their own personal sensor to check their physical signal. Also each camera should be located in front of their head to catch their looks. Therefore we need more simple system to analyze group flow. This study provides the method for measurement of audiences flow with group synchronization at same time and place. To measure the synchronization, we made real-time processing system using the Differential Image and Group Emotion Analysis (GEA) system. Differential Image was obtained from camera and by the previous frame was subtracted from present frame. So the movement variation on audience’s reaction was obtained. And then we developed a program, GEX(Group Emotion Analysis), for flow judgment model. After the measurement of the audience’s reaction, the synchronization is divided as Dynamic State Synchronization and Static State Synchronization. The Dynamic State Synchronization accompanies audience’s active reaction, while the Static State Synchronization means to movement of audience. The Dynamic State Synchronization can be caused by the audience’s surprise action such as scary, creepy or reversal scene. And the Static State Synchronization was triggered by impressed or sad scene. Therefore we showed them several short movies containing various scenes mentioned previously. And these kind of scenes made them sad, clap, and creepy, etc. To check the movement of audience, we defined the critical point, αand β. Dynamic State Synchronization was meaningful when the movement value was over critical point β, while Static State Synchronization was effective under critical point α. β is made by audience’clapping movement of 10 teams in stead of using average number of movement. After checking the reactive movement of audience, the percentage(%) ratio was calculated from the division of “people having reaction” by “total people”. Total 37 teams were made in “2012 Seoul DMC Culture Open” and they involved the experiments. First, they followed induction to clap by staff. Second, basic scene for neutralize emotion of audience. Third, flow scene was displayed to audience. Forth, the reversal scene was introduced. And then 24 teams of them were provided with amuse and creepy scenes. And the other 10 teams were exposed with the sad scene. There were clapping and laughing action of audience on the amuse scene with shaking their head or hid with closing eyes. And also the sad or touching scene made them silent. If the results were over about 80%, the group could be judged as the synchronization and the flow were achieved. As a result, the audience showed similar reactions about similar stimulation at same time and place. Once we get an additional normalization and experiment, we can obtain find the flow factor through the synchronization on a much bigger group and this should be useful for planning contents.

설교 준비 단계의 실천적 필수 요소로서의 청중이해에 관한 연구

박문석 한국실천신학회 2024 신학과 실천 Vol.- No.89

설교의 3대 요소를 꼽으라면 성경과 설교자와 청중이라 할 수 있다. 그러기에 본문 연구와 설교자의 자질과 설교 전달 방법의 중요성뿐만 아니라 설교의 최종 종착지인 청중이해에 대한 구체적인 연구와 중요성을 인지할 필요가 있다. 일반 커뮤니케이션 영역에서는 청중의 마음을 사로잡기 위해 다양한 접근 방법과 연구 방법을 동원하여 활발히 연구하고 제시되고 있다. 설교학자들 사이에서도 포스트모던 시대의 특징이 두드러지게 나타나면서 신설교학이 등장하였고 청중에게 쉽고 편안하게 접근하기 위한 연구뿐 아니라 청중이해에 대한 중요성이 강조되고 있다. 청중이해가 중요한 요소가 된 것은 청중이 없으면 설교도 설교자도 더 이상 존재할 이유가 없기 때문이다. 하나님께서 사람이 알아들을 수 있도록 당신의 언어를 성경 저자들의 언어로 기록하게 하신 것 또한 사람들이 하나님의 말씀을 알아듣지 못하고 이해하지 못한다면 그 말씀은 허공의 소리에 불과할 것이기 때문이다. 특히 설교자들은 준비한 설교를 선포하면 성령께서 알아서 은혜를 주실 것이라는 막연한 기대를 하는 것이 사실이다. 하지만 청중에 대한 깊이 있는 분석과 이해가 결핍된다면 효과적이고 바람직한 설교를 할 수 없을 것이다. 본문 분석과 주해의 중요성 못지않게 청중이해는 설교 준비 단계에 있어서 실천적 필수 요소이며 과정이다. 설교를 듣고 있는 청중은 누구인가? 무엇을 하며 살아가고, 어떠한 사회적 환경에서 살아가며, 영적으로 무엇을 갈망하며, 어떠한 설교를 듣기를 원하며, 무엇을 필요로 하는지 바르게 이해할 때 효과적으로 설교를 전달할 수 있으며 설교자의 설교를 통해 하나님께서 계획하고 있는 그 뜻이 실현될 수 있을 것이다. 본고에서 필자는 설교 준비 단계의 실천적 필수 요소로서의 바른 청중이해가 설교에 어떠한 영향을 미치는 지를 연구하기 위해 청중 이해를 위한 세 가지 영역에 대해 제시하려고 한다. 먼저는 청중의 신앙의 성숙도 측면이고, 둘째는 청중의 지적 수준 측면이며, 셋째는 청중의 문화적 측면이다. 물론 재정적, 정치적, 사회적, 사상적 측면들도 청중을 이해하는 중요한 요소이지만 지면 상 상세하게 설명하지 않고 문화적 측면을 다루면서 언급하고자 한다. 예수님과 사도들은 어떻게 청중을 이해하면서 사역했는지를 살펴보고, 구체적인 예로서 요한계시록에 나오는 소아시아 일곱 교회에 보내진 편지를 연구함으로 부활하신 주께서 청중이해를 위한 세 가지 영역을 어떻게 이해하고 말씀했는지를 다룰 것이다. The sermon comprises three core elements: the Bible, the preacher, and the audience. Understanding the audience is crucial as it serves as the ultimate destination of the sermon. In today’s communication landscape, various methods are explored to engage audiences effectively. This includes the realm of preaching, where the postmodern era has brought forth new homiletic approaches emphasizing audience understanding. Without an audience, preaching loses its purpose. God ensured His message was comprehensible by using human language in the Bible. However, for the message to resonate, it must be understood by the listeners. While pastors trust in the Holy Spirit’s grace upon their preaching, lacking a deep understanding of the audience hinders effectiveness. Textual analysis and exegesis remain vital, but audience understanding is equally essential in the sermon preparation stage. Effective sermons stem from a grasp of the audience’s daily lives, social context, spiritual aspirations, preferred sermon styles, and needs. Through this understanding, the preacher aligns with God’s will, facilitating the realization of His plans. This article will explore three key areas of audience understanding: faith maturity, intellectual level, and cultural background. While financial, political, social, and ideological aspects also influence understanding, focus will be on the cultural dimension due to space constraints. Drawing insights from Jesus and the apostles’ ministry, particularly through the letters to the seven churches in Asia Minor found in the Book of Revelation, this paper will demonstrate how the Risen Lord comprehended and addressed these aspects of audience understanding.