K-Pop Cover Dance ᷳ嶗烉ㆹᾹ⤪Ỽㆸ䁢ˬ准侭˭

Total Page:16

File Type:pdf, Size:1020Kb

K-Pop Cover Dance ᷳ嶗烉ㆹᾹ⤪Ỽㆸ䁢ˬ准侭˭ ୯ҥᆵ᡼ৣጄεᏢ ܌زε౲໺ኞࣴ ᅺγፕЎ ᆶ K-pop ӅᆸǺ ᡏჴ፬يޑ܄Cover Dance ᆶѠ᡼ԃᇸζ ࡰᏤ௲௤Ǻጰӵॣറγ ғǺ໳䐁น ኗ ز ࣴ ύ๮҇୯ ΋ɄΒԃϤД I 嫅娴 ġ ġ 䞼䨞㇨ᶱ⸜炻⎒㴰ᶨ廱䛤ˤ⛐婾㔯⮓ἄ䘬忶䦳ᷕ炻ᶵ㗪㎋゛冒⶙崘⇘忁ᶨ㬍 䘬㧉㧋炻䚜⇘Ṳ⣑炻䳪㕤ㇵỤ᷶䦵⽖䩢㍊↢Ḯᶨ溆廒⹻ˤ 忁㛔婾㔯䘬⬴ㆸ炻椾⃰天嫅嫅ㆹ䘬⭞Ṣ炻⚆⭞䘬デ奢␴シ佑㗗Ṩ湤悥䃉㱽⍾ ẋ䘬ˤḇ嫅嫅ἈᾹ➡梲Ḯㆹ㦪奨㬋⎹䘬ᾳ⿏炻㰺㚱ἈᾹ䱦䤆ᶲ␴䴻㾇ᶲ䘬㓗㊩炻 ㆹ䘬Ṣ䓇ㆾ姙ḇ㚫㇒䃞ᶵ⎴烊ㆹㆾ姙ᶵ㚫㚱≯㯋炻⛐⣏⬠䔊㤕⼴ᶨ儛嶷忚忁ᾳ⍇ ⇅ℐ䃞旴䓇䘬柀➇ˤ ġ ġ 嫅嫅ㆹ䘬㊯⮶㔁㌰ Eva 侩ⷓ炻䴎Ḯㆹ⼰⣂䨢攻゛⁷ˣ妶婾忁ᾳᷣ柴䘬⎗傥⿏炻 ⛐忯⇘⚘暋ㆾ䞃䚦㗪炻㭷ᶨ㫉䘬 meeting ㆾ婚➪妶婾ḇ䷥㗗┇䘤䓐ㆹ⎬䧖ᶵ⎴奺 ⹎慵㕘㩊夾冒⶙䘬゛㱽ˤ⯌℞嫅嫅侩ⷓ䘬㹓㘾冯溻⊝炻晾䃞ᶨ䚜⇘㚨⼴⸦㫉 meeting 炻ㆹㇵ䳪㕤傥㭼庫ᶵ恋湤₝䚜⛘⛸⛐恋⻝⮷㱁䘤ᶲ炻Ữ䷥㗗⼰㛇⼭␴侩 ⷓ䘬夳朊炻᷎⛐㭷ᶨ㫉䘬夳朊⼴炻デ奢冒⶙ℵ⹎⃭㺧Ḯ傥慷ˤ⎎⢾炻ḇ天嫅嫅ㆹ 䘬⎋⥼㣲剛㝅侩ⷓ冯嵁䵢剛侩ⷓ炻ᶵ⏅㕤䴎ㆹ姙⣂䱦斊䘬⺢嬘冯゛㱽炻嬻ㆹᶵ军 㕤⛐⿏炾⇍ˣ准巰␴幓橼䞼䨞䘬㰒㲳⣏㴟ᷕ徟⣙㕡⎹ˤ ġ ġ 嫅嫅 Queenie 准⛀ˣ Limitless 准⛀ˣ S.co Ʉsexy & cool 准⛀ẍ⍲㇨㚱⍫冯䞼 䨞䘬 cover dance 准侭⼍ょˣ Moo ˣ㘢】ˣAlice ˣLin 炻忁㛔婾㔯⛐㝸䧖䦳⹎ᶲἮ 婒㗗Ⱄ㕤ἈᾹ䘬烊嫅嫅ἈᾹ栀シ⮯姀ㅞʇʇᶵ婾㗗⽫䎮ᶲ䘬ㆾ㗗幓橼ᶲ䘬ʇʇ妿 Ẁ䴎ㆹᾅ䭉炻嫅嫅ἈᾹ⛐↮ṓᷳ检怬天ᶵ㗪㍍⍿ㆹ䘬ㇻ㒦炻嬻ㆹ嶇㜙嶇大炻㍸ὃ ㆹ姙⣂朆 cover dance 准侭暋ẍ㍍妠⇘䘬屯妲烊ḇ嫅嫅ἈᾹ嶛准䘬⦧ン炻嬻ㆹ㚱 㨇㚫⚆忶柕Ἦ㩊夾ˣ娵嬀冒⶙䘬幓橼ˤ ġ ġ 嫅嫅⎗ッ⍰㹓㘾䘬 Kelly 侩ⷓ炻ᾖ侩ⷓ䘬婚㚱⤥⣂伶⤥侴暋⾀䘬⚆ㅞ烊嫅嫅 ䷥㗗♟♟天Ἦㆹ⭞ ⭞⹕姒⓷䘬㜙㲘侩ⷓ炻㚨╄㬉侩ⷓ䘬㘢ㄏ冯桐嵋Ḯ烊嫅嫅Ṏ ⷓṎ⍳䘬农⸛侩ⷓ炻↮幓᷷埻ᷳ检怬䷥㗗屣⽫⛘䄏栏ㆹᾹˤ嫅嫅䁛⬷侩ⷓˣ䵕卩 侩ⷓˣ䁗曺侩ⷓˣ枭⚳⮏侩ⷓˣ⻝⥲ˣ㇨⊁≑䎮Ᾱ㕤䞼䨞㇨ᶱ⸜㛇攻䴎Ḱ䘬⣏⣏ ⮷⮷䘬㊯⮶冯⸓≑ˤ 嫅嫅忶⍣㇨㚱⍫冯忶ㆹ䘬⮷婾䘬⍿姒侭炻晾䃞䞼䨞ᷣ柴Ḽ剙ℓ攨炻⼰ㄞ⸠䷥ 㗗傥⛐㝸ᾳ奺句㈦⇘ἈᾹˣ冯ἈᾹ䚠忯炻嫅嫅ἈᾹ栀シ㴒屣⸦ᾳ⮷㗪⛐ㆹ忁ᾳㄹ III 䨢↢䎦䘬旴䓇Ṣ幓ᶲˤḇ嫅嫅㭷ᶨ⟜䞼妶㚫ᶲ„䃞䚠忊䘬侩ⷓ冯⎴⬠Ᾱ炻嫅嫅Ἀ Ᾱ䘬教嬨ˣ⺢嬘冯⓷柴炻⚈䁢㚱ἈᾹ冯忁ṃ䴻槿炻ㆹㇵ傥⛐䡑婾⮓ἄ忁㡅嶗ᶲ两 临≯㔊⇵忚ˤ 嫅嫅ᶨ嶗䚠Ḻ㈞㊩䘬⼍Ở X ⊭塙ˣ₪₪␴㼬㼬⒍炻⛐⮓ἄ攱斄㛇攻⸦᷶⽆ 㛒攻㕟䘬昼䨢攺俲炻⌛ὧ⎒㗗ᶨṃ㮓䃉シ佑䘬䤆䴻䕭⮵娙炻悥嬻ㆹデ⇘冒⶙᷎朆 ⬌䌐ᶨṢˤ嫅嫅䷥㗗ᶵ⩴湣䄑⛘䁢ㆹ嗽䎮⣏⮷ḳ䘬⻟侭ᷣ㑕ˣṢ伶⽫ḇ伶䘬㚱啘 X ⯤⎗㉱㕗ˣ㕘䪡⛘㕡姀侭⦧Ở X ⭞⏃ˣ㗪ⷠᶵ⯹ᶵ侸⌣䨘Ṣⲯ㊄䘬☀㢖ˣ䳘 ⽫䘬楔⩥⩥ˣ⫿枛⫿⼊⮷⣑⎶䥳䥳ˣ䷥㗗ⷞἮ㬉䪹䘬⮷㔯曺㕡ぐˣ⃒䥨䘬⭊⣿櫼 Ṣ偗⯤ˣ伶渿⋲Ṣ⥣⬓⮏炻ẍ⍲㇨㚱 101 䳂䘬⎴⬠炻㗪ⷠㄞ⸠冒⶙冯ἈᾹ⎴䎕炻 傥␴ἈᾹᶨ崟⹎忶䞼䨞㇨䓇㳣炻䛇䘬㗗ᶨẞ朆ⷠ⸠䤷䘬ḳˤ嫅嫅侩㮃ˣ⮷剙⬠⥲ 䫱㇨ᶲ⬠攟⥸䘬䄏栏烊ḇ嫅嫅㦻ᶳ⊅塽柀幵䘬忳ẹ㇨⎴⬠炻♲㊔Ḯ⽆ῇ⬱ℐⷥ⇘ ㍍⍿姒婯䫱⣏⣏⮷⮷䘬㤕⊁ˤ ġ ġ 嫅嫅檀ᷕẍἮᶵ暊ᶵ㡬䘬旧㖷ˣ⣂梃ˣ叙叙ˣ䛇䓟Ṣˣ䈃⮞␴啵啵䫱㚳⍳炻 ␴ἈᾹ䘬䲬屣䷥㗗㬉䪹倚ᶵ㕟炻㯠怈㗗ㆹ㚨⤥䘬性桐㷗烊怬㚱旧屜炻ⷠ⛐⎘⊿榶 干㗪゛崟Ἀ炻䃞⼴⾀姀ㆹᾹ⶚䴻ᶵ⛐ᶨ崟䘬ḳ⮎炻栀Ἀ⛐怈㕡䃉䕭䃉䖃ˣᶨ↯悥 ⤥ˤ嫅嫅⤵⨟ˣ㙱䍐⛐ㆹ゛⚆⎘ᷕ㗪炻䷥㗗佑ᶵ⭡录⛘↢Ἦ夳ㆹᶨ朊炻␴ㆹᶨ崟 㓦倮⛘⣏倚䪹櫏炻⯌℞゛⾝ᶨ崟㸾⁁䞼䨞㇨㗪ℙか暋䘬伭咻巊㗪⃱ˤ嫅嫅䚃侩ⷓ ␴㜙㴟㟉䯫⽆ㆹ 18 㬚ẍἮ䘬䄏栏冯昒Ờ炻嫅嫅ἈᾹ䴎Ḯㆹᶨ㭝冯䛦ᶵ⎴䘬䆎䇃 ⚆ㅞ炻昒叿ㆹᶨ嶗ㆸ攟ˤ Special thanks to friends I met in Brighton and Boston, thanks for broadening my view of the world and teaching me how to dance. ġ ġ 嫅嫅⑰☽␴⮷⃱炻⛐ㆹ攱斄㗪㛇⃭䔞ㆹ㚨⤥䘬倥䛦炻晾䃞ἈᾹ䷥㗗嗽㕤䅇䜉 䉨ン炻Ữ⃱㗗䚳叿ἈᾹ䘬䜉⦧ˣ㐠㐠ἈᾹ䘬㮃偂⫸炻⯙⶚䴻㗗㚨⤥䘬䗪䗺㕡⺷ˤ 嫅嫅崭Ṣ炻嫅嫅Ἀ䘬橼層冯⸥満炻ẍ⍲ㆹᾹ䌐䈡䓇㳣㕡⺷㇨岎Ḱㆹ䘬䌐䩳烊 嫅嫅Ἀ炻嬻ㆹ嬲ㆸḮᶨᾳ㚜⤥䘬Ṣˤ晾䃞ㆹⷠ婒Ἀ曠ỼḮㆹ䘬曺㗍炻Ữ℞⮎Ἀ⶚ 㗗ㆹ曺㗍㚨伶⤥ᶼ暋ẍ√㌐䘬ᶨ悐↮ˤ嫅嫅Ἀ炻䷥㗗⬀⛐坊ⷽ墉炻⌣暊⼿㭼婘悥 怬役ˤ IV 冯 K-pop ℙ准烉 Cover Dance 冯⎘䀋⸜庽⤛⿏䘬幓橼⮎嶸 ! 㐀天! ġ ġ ˬ杻⚳㳩埴枛㦪˭炷Korean popular music, K-pop 炸ᶨ娆炻᷎朆⬴ℐ㊯㴱╖ᶨ 㮹㕷⚳⭞ᷳ忂὿枛㦪㔯栆炻侴㚜Ὢ㢵➢㕤⻟䁰䘬⓮㤕≽㨇冯䴻㾇侫慷炻ᷫ军杻⚳ 㳩埴枛㦪䓊㤕⮵㕤㴟⢾ⶪ⟜䘬゛⁷ˤ晐叿杻⚳㳩埴枛㦪䘬⓮㤕⿏ˣ⋨➇⿏ᷫ军ℐ 䎫⿏䘤⯽炻准㚚⶚徸㻠ㆸ䁢杻⚳㳩埴枛㦪㚨ᷣ天䘬栆✳ᷳᶨ炻昌⌣℞⮵ MV ⼙ ⁷䈡岒䘬徥㯪ᷳ⢾炻杻⚳㳩埴枛㦪⮵㕤准巰䶐㌺冯准巰桐㟤䘬㲐慵炻ℵ≈ᶲ䎦⟜ 䚜㑕枛㦪䭨䚖䘬␐㛇⿏㓦復炻冯⎬䧖 cover dance 准巰岥ḳ䘬冱彎炻䘮冒⎬䧖朊 ⎹⻟⊾Ḯ杻⚳㳩埴枛㦪䘬夾奢シ㵝炻ἧ⼿杻⚳㳩埴枛㦪䘬㴰屣᷎ᶵ㗗ᶨ䧖倥奢 ⿏䘬䴻槿炻㚜㴱⍲Ḯ夾奢⿏䘬炻䓂军㗗幓橼⊾炷 embodiment 炸シ佑ᶳᾳ橼䘬デ⭀ 䴻槿冯幓橼⮎嶸炻忚侴⎗傥⼊ㆸᶵ⎴Ⰼ㫉ᷳˬ倥˭杻⚳㳩埴枛㦪ˣˬ䚳˭杻⚳㳩 埴枛㦪␴ˬ嶛˭杻⚳㳩埴枛㦪䘬㴰屣シ㵝ˤ ġ ġ 㛔䞼䨞⮯冯 cover dance 㚱斄䘬婾徘ㆾ妶婾∫↮䁢ℑᾳ悐↮炻↮⇍䁢烉K-pop ᷕ昘⿏炾春∃䈡岒䘬ˬ橼˭䎦冯慵㥳炻ẍ⍲ cover dance ἄ䁢准巰⮎嶸䘬⛐⛘シ 佑ˤ德忶⻟婧⤛⿏冯嶛准䘬忋䳸炻㛇傥䁢⎘䀋曺⮹⤛ㆾ⸜庽⤛⿏⮵㕤 cover dance 䘬㈽ℍ㍸ὃᶨⷭ㚜䁢䧵㤝䘬⚾⁷炻᷎↠栗↢ cover dance 准侭ἄ䁢ᶨ凔Ṣˣ cover dance ἄ䁢㖍ⷠ䓇㳣䘬准巰⮎嶸䘬シ佑ˤ㚜慵天䘬炻㗗㊯↢忁㧋䘬准巰⮎嶸℟⁁ ỽ䧖䈡㬲䘬⛐⛘シ佑炻侴冯⎘䀋⤛⿏幓橼ˣ嶛准㔯⊾ẍ⍲䣦㚫⿏⇍䳸㥳ᷫ军⿏⇍ 䨢攻ᷳ攻䘬斄Ὢ㚱叿Ṩ湤㧋䘬忋䳸ˤ ġ ġ 䵄⎰侴妨炻㛔䞼䨞⽆幓橼⊾炷 embodiment 炸䘬奨溆↢䘤炻ẍ⎘䀋曺⮹⤛ㆾ⸜ 庽⤛⿏䁢ᷣ橼炻⮯杻⚳㳩埴枛㦪炷K-pop 炸䘬奺刚夾䁢ᾳ橼㑵㺼⿏⇍ˣね䵺冯橼 䎦傥≽⿏䘬屯㸸炻㍊䨞 cover dance ⛐⎘䀋曺⮹⤛ㆾ⸜庽⤛⿏䘬䓇㳣ᷕ㈖㺼ḮṨ 湤㧋䘬奺刚烊⤡Ᾱ⍰㗗⤪ỽ德忶杻⚳㳩埴枛㦪䘬㴰屣冯㋒䓐炻䎮妋᷎慵㥳杻⚳㳩 埴枛㦪ᷕ㇨⯽㺼䘬昘⿏䈡岒炻忚侴䓇䓊ˣ䴻槿Ḯỽ䧖⎎栆冒ㆹ炷alternative sense of self 炸ˣ幓橼⊾䴻槿炷embodied experience 炸冯幓橼⮎嶸炻侴⼿冯⤡Ᾱ㇨♖⼨䘬 杻⚳„⁷Ḻ䁢ᷣ橼ˤ 斄挝⫿烉杻⚳㳩埴枛㦪ˣCover dance ˣ幓橼⊾ˣ幓橼⮎嶸ˣ嶛准㔯⊾ V Dancing with K-pop: Cover Dance and the Bodily Practices of Young Female in Taiwan Abstract This paper tended to regard K-pop’s role as a resource for configuring emot ional and embodied agency, focusing on the consumption of K-pop among Taiwanese young female. Considering the importance of consumption of images, dancing and performances which come from K-pop music videos and live performance especially, the consumption of K-pop could be viewed as physical experience instead of audio experience only that “cover dance” became one of the prominent and significant localized dance practices of K-pop among Taiwanese young female. The intention of this paper was to discover how Taiwanese young females recognized or reconstructed the femininity performed from K-pop, what embodied experiences and bodily practices were produced while consuming K-pop and how they made music personalized though the appropriation of K-pop. By identifying two different kinds of dance practices: the cover dance practice of dance groups and individuals , this paper tended to highlight the alternative senses of selves which may claim to experience within different bodily practice when “dancing with” K -pop, and a network-oriented dancing culture which related to body consciousness, gender and spaces. Keywords: Korean Popular Music 炷K-pop 炸, Cover dance, Embodiment, Bodily practice, Dancing culture VI 䚖抬 䫔ᶨ䪈ġ 䵺婾 ......................................................................................................................... 1 ġ ġ 䫔ᶨ䭨 ġ 䓇䓊䶂ᶲ䘬㳩埴㦪冯昘⿏䈡岒 ................................................................... 1 ġġġġġ ᶨˣ杻⚳㳩埴枛㦪烉⽆ˬ㫴嫈˭炷 kayo 炸⇘ˬ K-pop ˭ ......................... 2 ġġġġġ Ḵˣㇻ忈„⁷冯„⁷ˬ⿏˭ ....................................................................... 5 ġġġġġ ᶱˣ杻⚳⤛炾⿏ᷣ橼⿏ ............................................................................... 8 ġ ġ 䫔Ḵ䭨 ġ 䞼䨞≽㨇烉 Can You See/Feel the Music 烎 ............................................... 10 ġ ġ 䫔ᶱ䭨 ġ ⓷柴シ嬀冯䞼䨞㕡㱽 ................................................................................. 14 ġġġġġ ᶨˣ Cover Dance 烉ᶨ䧖ˬ⸛㖻役Ṣ˭䘬准巰⮎嶸 ................................ 14 ġġġġġ Ḵˣ⓷柴シ嬀冯䞼䨞⓷柴 ......................................................................... 17 ġġġġġ ᶱˣ䞼䨞ᷣ橼冯䞼䨞㕡㱽 ......................................................................... 19 䫔Ḵ䪈ġ ˬ嶛˭ᶲ K-pop Cover Dance ᷳ嶗烉ㆹᾹ⤪ỽㆸ䁢ˬ准侭˭ .............. 26 ġ ġ 䫔ᶨ䭨 ġ K-pop cover ⼙䇯ˬ普˭冯ˬ㔋˭ ........................................................... 26 ġ ġ 䫔Ḵ䭨 ġ ˬ⚈䁢⬫⼰䯉╖˭烉㗗准巰炻ḇ㗗 Pose ................................................. 29 ġġġġġ ᶨˣ⎬䧖准巰⃫䳈䘬䵄⎰橼 ..................................................................... 29 ġġġġġ Ḵˣ䔞 Pose 䳸⎰准㬍烉䚠⮵䯉╖䘬准巰≽ἄ ........................................ 31 ġ ġ 䫔ᶱ䭨 ġ ㉮妋冯慵䳬烉ᾳṢ⺷ dance cover 冯准⛀⺷ dance cover ........................ 36 ġ ġ 䫔⚃䭨 ġ ⮷䳸烉ᾳṢ⊾䘬⨺ṳἧ䓐䴻槿冯䵚嶗䣦佌䘬ↅ倂 ................................. 40 䫔ᶱ䪈ġ Cover Girl Ʉ“Cover” Girl .............................................................................. 45 ġ ġ 䫔ᶨ䭨 ġ ⿏炾⇍冯幓橼 ............................................................................................. 45 ġġġġġ ᶨˣ⽆䓇䎮⿏⇍炾䣦㚫⿏⇍⇘⼴䳸㥳⤛⿏ᷣ佑 ..................................... 45 ġġġġġ Ḵˣ⿏⇍䘬㑵㺼シ㵝烉幓橼䘬慵天⿏ ..................................................... 47 ġġġġġ ᶱˣˬ幓橼⊾˭炷 embodiment 炸烉㳣䓇䓇䘬幓橼冯䴻槿 ..................... 50 ġ ġ 䫔Ḵ䭨ġ ⎘䀋ᷣ㳩伶⤛⼊尉⎚ ................................................................................. 52 ġġġġġ ᶨˣḼ˕⸜ẋ军ᶫ˕⸜ẋʇʇ㶭䲼㧠⮎ˣ忻⽟ㇵ⽟ℤ⁁䘬㯋岒⤛⿏ . 53 ġġġġġ Ḵˣℓ˕⸜ẋʇʇ⽆⁛䴙伶⽟ᷕ徸㻠↢崘ˣ徥㯪冒ㆹ䘬悥㚫⤛⿏ ..... 55 ġġġġġ ᶱˣḅ˕⸜ẋ军 2000 ⸜⇅㛇ʇʇ⻟婧㴰屣䘬ˬ伶渿⢆⤛Ṣ˭ ........... 57 ġġġġġ ⚃ˣ 2000 ⸜彬Ṳʇʇ䓄伶ᷕⷞ㚱⿏デ䘬⎗ッ⤛Ṣ ................................ 59 ġ ġ 䫔ᶱ䭨 ġ You are My Queen, My Dancing Queen ..................................................... 61 ġġġġġ ᶨˣ⤛ˬ⿏˭㛒㺧烉⸛㖻役Ṣ䘬惘⭞⤛⬑ ............................................. 62 VII ġġġġġ Ḵˣ䳸⎰䶜佺䓇⇞⹎婾徘炻⣂朊⎹䘬昘⿏䈡岒 ..................................... 67 ġ ġ 䫔⚃䭨 ġ K-pop 准巰昘⿏䈡岒䘬ˬ橼˭䎦冯慵㥳 .................................................. 69 ġġġġġ ᶨˣ Cover ℏ䘬ˬ橼˭䎦 .......................................................................... 70 ġġġġġ Ḵˣ Cover ⢾䘬㋒䓐冯慵㥳 ...................................................................... 76 䫔⚃䪈ġ Ἦ嶛准⏏炰Every “Body” Dance Now ......................................................... 81 ġ ġ 䫔ᶨ䭨 ġ 准巰幓橼烉准巰ἄ䁢㔯㛔冯幓橼⊾奨溆䘬准巰䞼䨞 ............................. 81 ġ ġ 䫔Ḵ䭨 ġ 嶛准㔯⊾炷 dancing culture 炸ᷕ䘬⤛⿏⚾⁷ ............................................. 83 ġġġġġ ᶨˣ嶛准ἄ䁢⤛⿏冒ㆹ堐忼䘬ⶍ℟ ......................................................... 84 ġġġġġ Ḵˣ嶛准㇨⼊⟹䘬⎎栆冒ㆹ炷 alternative senses of self 炸冯ᷣ橼⿏ ...... 85 ġġġġġ ᶱˣ嶛准㇨℟⁁䘬妋㓦ㆾ岎㪲㼃傥 ......................................................... 87 ġ ġ 䫔ᶱ䭨 ġ Cover Dance ˣ昘⿏幓橼冯䨢攻 ................................................................ 90 ġġġġġ ᶨˣᶨ↯䘬崟溆烉再⭌䨢攻 ..................................................................... 93 ġġġġġ Ḵˣ Party Time 烉⋲攳㓦䘬䥩Ṣ䨢攻 ....................................................... 98 ġġġġġ ᶱˣℐ攳㓦䘬℔ℙ䨢攻 ........................................................................... 103 䫔Ḽ䪈ġ 䳸婾冯妶婾烉ˬ⥛˭炻⣂ᷭ㰺㚱嶛准Ḯ烎 ............................................... 111 ġ ġ 䫔ᶨ䭨 ġ Cover Dance ἄ䁢⎘䀋㕘冰嶛准㔯⊾ ..................................................... 111 ġ ġ 䫔Ḵ䭨 ġ 䞼䨞旸⇞冯⺢嬘 ....................................................................................... 113 ġ ġ 䫔ᶱ䭨 ġ ˬㆹ˭冯ˬ⤡Ᾱ˭䘬㓭ḳ ....................................................................... 114 ġġġġġ ᶨˣㆹ䘬幓橼Ʉㆹ䘬ˬ䔘⚳嶛准婚˭ ................................................... 114 ġġġġġ Ḵˣ䞼䨞侭ˬ⥲⥲˭ ............................................................................... 116 旬抬 A. ġ ⍫冯䞼䨞侭炷准⛀炸Dance Cover 㚚䚖↿堐 ....................................... 119 旬抬 B. ġ ⍫冯䞼䨞侭炷ᾳṢ炸Dance Cover 㚚䚖↿堐 ........................................ 120 旬抬 C. ⍫冯䞼䨞侭⍫冯㳣≽↿堐 ......................................................................... 124 旬抬 D. 㶙⹎姒婯⣏䵙 ............................................................................................. 125 ⍫侫㚠䚖.................................................................................................................... 127 VIII 堐䚖抬 堐 1-1ġ ⍫冯㛔䞼䨞ᷳ杻㳩准⛀⍲⍿姒侭屯㕁 …………………………… .…… 20 堐 1-2ġ ⍫冯㛔䞼䨞ᷳᾳṢ⺷ cover dance 准侭 ………………………………… 21 堐 1-3ġ 㛔䞼䨞⍫冯奨⮇ᷳ䚠斄屯㕁 ……………………………………………. 24 IX ⚾䚖抬 2-1ġ Girls' Generation˨Genie ˩䶐准圵⎰Ḯ㍊ㆰ冯槟匶䘬⃫䳈 ……………… 30 2-2ġ ⛐ K-pop 准巰ᷕ炻嶛准⼨⼨⏓㊔Ḯˬ㒢 pose ˭䘬ㆸ↮ …………………. 33 2-3ġ K-pop 准巰⣏⣂⻟婧堐㺼侭䘬儧悐㚚䶂 ……………………………….. 34 2-4ġ 德忶全悐ㆾ橐䙮⋼≑⯽䎦ᶳ⋲幓㚚䶂䘬 K-pop 准㬍 ………………… .. 34 2-5ġ 德忶ㇳ㍺檀儘ˣ⡻Ỷ儘側䫱㕡⺷⺞Ỡ堐㺼侭ᶳ⋲幓㚚䶂䘬 K-pop 准㬍 .. 34 2-6ġ T-ara ˨Lovey Dovey ˩⭀㕡⍇䇰⼙䇯㇒⚾ ……………………………… . 35 2-7ġ T-ara ˨Lovey Dovey ˩䎦⟜㺼↢㇒⚾ ……………………………………. 35 2-8ġ ˬ⎘䀋䶜佺䓇椾䪁⊿悐倂㚫˭䎦⟜ ……………………………………… 43 3-1ġ 杻⚳㳩埴枛㦪ᷕ⺢㥳䘬⎬䧖⽆Ⱄ炷subordinate 炸㕤䔘⿏䘬昘⿏䈡岒 …. 62 3-2ġ
Recommended publications
  • SNSD and the Art of Bridging The
    Situations Vol. 3 (Winter 2009) © 2009 by Yonsei University Mariah Junglan Min1 [email protected] The Art of Crossing the Line Although the intensive coverage provided to the new all-boy and all-girl bands through the Internet and in more traditional media such as television may make it seem as though such they have long dominated popular music, the current explosion in popularity of idol groups begun only two years ago. What is more, this is not the first time that such groups have stormed the K-pop charts. The first wave of massively popular idol groups was in the late 90s, when a veritable army of teens made their debut as singers. Korean multi-entertainment companies recognized the business potential in well-trained young and attractive stars, and the feverish reception from the public confirmed this. The result was that H.O.T., Sechs Kies, Shinhwa, Fin.K.L., S.E.S., and G.O.D. enjoyed chart success and outstanding album sales. Around 2002, this first golden age of idol groups came to an end. Most of the first wave of idols split up, while some individual members went on to pursue solo careers. Although some groups did continue, with Shinhwa performing as recently as 2008, the moment of the idol group seemed to have passed. For a short time, the K-pop scene was now host to a series of successful solo artists, such as Rain and Yi Hyo-ri, the latter a former member of the all-girl band Fin.K.L. In 2004, the first forerunners of the second wave began to appear, with TVXQ, for example, releasing their first single that year.
    [Show full text]
  • The Globalization of K-Pop: the Interplay of External and Internal Forces
    THE GLOBALIZATION OF K-POP: THE INTERPLAY OF EXTERNAL AND INTERNAL FORCES Master Thesis presented by Hiu Yan Kong Furtwangen University MBA WS14/16 Matriculation Number 249536 May, 2016 Sworn Statement I hereby solemnly declare on my oath that the work presented has been carried out by me alone without any form of illicit assistance. All sources used have been fully quoted. (Signature, Date) Abstract This thesis aims to provide a comprehensive and systematic analysis about the growing popularity of Korean pop music (K-pop) worldwide in recent years. On one hand, the international expansion of K-pop can be understood as a result of the strategic planning and business execution that are created and carried out by the entertainment agencies. On the other hand, external circumstances such as the rise of social media also create a wide array of opportunities for K-pop to broaden its global appeal. The research explores the ways how the interplay between external circumstances and organizational strategies has jointly contributed to the global circulation of K-pop. The research starts with providing a general descriptive overview of K-pop. Following that, quantitative methods are applied to measure and assess the international recognition and global spread of K-pop. Next, a systematic approach is used to identify and analyze factors and forces that have important influences and implications on K-pop’s globalization. The analysis is carried out based on three levels of business environment which are macro, operating, and internal level. PEST analysis is applied to identify critical macro-environmental factors including political, economic, socio-cultural, and technological.
    [Show full text]
  • SOAS-AKS Working Papers in Korean Studies No. 33 the K-‐Pop Boom
    School of Oriental and African Studies University of London SOAS-AKS Working Papers in Korean Studies No. 33 The K-Pop Boom in Taiwan Sang-Yeon Sung http://www.soas.ac.uk/japankorea/research/soas-aks-papers/ The K-Pop Boom in Taiwan Sang-Yeon Sung (University of Vienna) © 2012 Introduction Many people consider K-pop – the term being an abbreviation of Korean pop – to be one of the most successful Asian pop musics today. Its popularity and the popularity of its performers have spread not only within the region, but to many Western countries. If the first ‘Korean wave’ was centered in the popularity of Korean soap operas, such as Winter Sonata and Daejangkeum, the second ‘Korean wave’ is about K-pop and K-pop idols, such as Super Junior and Girls’ Generation. In both waves, Taiwan has played an important role in the dissemination of Korean popular culture within the region. Therefore, the K-pop boom in contemporary Taiwan is worthy of examination (after Moskowitz 2011: 4). This paper, based on ethnographic research in Taiwan, discusses the role of the Taiwanese music industry and Taiwanese music fans in the dissemination of K-pop, both in Taiwan and in other Chinese-speaking areas. The sources used are mainly interviews with fans, TV producers, music industry leaders, and officials of the Tourism Bureau in the Ministry of Transportation and Communications of the Republic of China, and have been conducted since March 2000. Taiwan: The Contact Zone of East Asian Pop Music Academic research on the popular culture of East Asia has typically focused on explaining the success of Japanese and Korean genres and styles (Huang 2011; Iwabuchi 2006; Kim 2005; Shim 2006; Sung 2008; Ubonrat & Shin 2007), leaving Taiwan unexplored.
    [Show full text]
  • Entertainment & Lifestyle
    ENTERTAINMENT & LIFESTYLE Secret Beverly Hills Travel, Fashion, 2013, 2 x 60 min Starring: Cho Yoon-hee (Actress, Movie Star) LIFESTYLE The secret talk between the top 1% in Beverly Hills. Talking about the most luxurious and romantic fashion style! Yoon-hee who is an attractive fashion icon among the women in twenties and thirties, as a fashion master who fits nicely from boyish casual to luxurious clothes. She is finding year-end party dresses in Beverly Hills where it symbolizes luxury as well as a Broadcast. MBC Queen variety of worldwide fashion styles. Secret London Travel, Fashion, 2012, 2 x 60 min Starring: Han Eun-jung (Actress, Movie Star) Han Eun-jung, as a Korean golden globe winner for acting this female actress is also considered a fashionista and at the same time is called a goddess for her stunning young looks and sense of fashion. She checks current fashion trend and tour of Broadcast. Fashion N London’s youngest designer shops. Secret Hong Kong Travel, Fashion, 2011, 2 x 60 min Starring: Park Han-byul (Actress) Hong Kong the Mecca of Shopping. Park Han-byul will be visiting China and showing us all the different fashion trends Broadcast. Fashion N and new smarter ways to shop. Secret Osaka Travel, Culture, 2011, 1 x 60 min Starring: Jang Hyuk (Actor) Jang Hyuk will show us his trip to Osaka. Explaining as an actor what he feels about life while traveling to different locations as he confronts Broadcast. Fashion N the different culture of Japan. 10 Secret Phuket Travel, Culture 2011, 1 x 60 min Starring: Sol Bi (Singer) Sol Bi’s “Freedom Phuket,” will take you to and array of island that will not only relax your mind, but also put you physically relaxed as she guides you through the locations that are most LIFESTYLE amazing to see.
    [Show full text]
  • O Fenômeno K-Pop – Reflexões Iniciais Sob a Ótica Da Construção Do Ídolo E O Mercado Musical Pop Sul-Coreano1
    Intercom – Sociedade Brasileira de Estudos Interdisciplinares da Comunicação 40º Congresso Brasileiro de Ciências da Comunicação – Curitiba - PR – 04 a 09/09/2017 O FENÔMENO K-POP – REFLEXÕES INICIAIS SOB A ÓTICA DA CONSTRUÇÃO DO ÍDOLO E O MERCADO MUSICAL POP SUL-COREANO1 Letícia Ayumi Yamasaki2 Rafael de Jesus Gomes3 Universidade do Estado de Mato Grosso (UNEMAT) Resumo: A finalidade deste artigo é discutir de que forma a indústria fonográfica começa a se reinventar a partir da abrangência da internet e da cultura participativa (JENKINS, 2008) e suas estratégias para sobreviver nesse mercado. Dessa forma, pretende-se analisar aqui o fenômeno K-Pop (Korean Popular Music) e suas técnicas para a construção do ídolo, licenciamento de produtos e seu respectivo sucesso no mercado global de música. A partir de uma reflexão inicial, discutiremos aqui como a indústria cultural está absorvendo esses elementos e construindo novos produtos. Como aporte metodológico, reuniu-se a pesquisa bibliográfica a partir dos conceitos sobre produtos culturais, economia afetiva além de pesquisa em sites focados no universo da cultura Pop Sul-Coreana. Palavras-chave: K-Pop, convergência, estratégias, indústria cultural 1. INTRODUÇÃO Um mercado que fatura bilhões de dólares por ano, altamente influenciado pelo uso de tecnologias durante o processo de produção, consumo e sua relação com a lógica do capital (BOLAÑO, 2010); (ARAGÃO, 2008); (BRITTOS, 1999); (DIAS, 2010). Este é o cenário da indústria fonográfica que, nos últimos 20 anos precisa lidar com o faturamento de suas produções e, ao mesmo tempo, precisa também se adaptar aos processos de compartilhamento via aplicativos, streamings e serviços on demand (JENKINS, 2008); (KELLNER, 2004).
    [Show full text]
  • The K-Pop Wave: an Economic Analysis
    The K-pop Wave: An Economic Analysis Patrick A. Messerlin1 Wonkyu Shin2 (new revision October 6, 2013) ABSTRACT This paper first shows the key role of the Korean entertainment firms in the K-pop wave: they have found the right niche in which to operate— the ‘dance-intensive’ segment—and worked out a very innovative mix of old and new technologies for developing the Korean comparative advantages in this segment. Secondly, the paper focuses on the most significant features of the Korean market which have contributed to the K-pop success in the world: the relative smallness of this market, its high level of competition, its lower prices than in any other large developed country, and its innovative ways to cope with intellectual property rights issues. Thirdly, the paper discusses the many ways the K-pop wave could ensure its sustainability, in particular by developing and channeling the huge pool of skills and resources of the current K- pop stars to new entertainment and art activities. Last but not least, the paper addresses the key issue of the ‘Koreanness’ of the K-pop wave: does K-pop send some deep messages from and about Korea to the world? It argues that it does. Keywords: Entertainment; Comparative advantages; Services; Trade in services; Internet; Digital music; Technologies; Intellectual Property Rights; Culture; Koreanness. JEL classification: L82, O33, O34, Z1 Acknowledgements: We thank Dukgeun Ahn, Jinwoo Choi, Keun Lee, Walter G. Park and the participants to the seminars at the Graduate School of International Studies of Seoul National University, Hanyang University and STEPI (Science and Technology Policy Institute).
    [Show full text]
  • Fenomén K-Pop a Jeho Sociokulturní Kontexty Phenomenon K-Pop and Its
    UNIVERZITA PALACKÉHO V OLOMOUCI PEDAGOGICKÁ FAKULTA Katedra hudební výchovy Fenomén k-pop a jeho sociokulturní kontexty Phenomenon k-pop and its socio-cultural contexts Diplomová práce Autorka práce: Bc. Eliška Hlubinková Vedoucí práce: Mgr. Filip Krejčí, Ph.D. Olomouc 2020 Poděkování Upřímně děkuji vedoucímu práce Mgr. Filipu Krejčímu, Ph.D., za jeho odborné vedení při vypracovávání této diplomové práce. Dále si cením pomoci studentů Katedry asijských studií univerzity Palackého a členů české k-pop komunity, kteří mi pomohli se zpracováním tohoto tématu. Děkuji jim za jejich profesionální přístup, rady a celkovou pomoc s tímto tématem. Prohlášení Prohlašuji, že jsem diplomovou práci vypracovala samostatně s použitím uvedené literatury a dalších informačních zdrojů. V Olomouci dne Podpis Anotace Práce se zabývá hudebním žánrem k-pop, historií jeho vzniku, umělci, jejich rozvojem, a celkovým vlivem žánru na společnost. Snaží se přiblížit tento styl, který obsahuje řadu hudebních, tanečních a kulturních směrů, široké veřejnosti. Mimo samotnou podobu a historii k-popu se práce věnuje i temným stránkám tohoto fenoménu. V závislosti na dostupnosti literárních a internetových zdrojů zpracovává historii žánru od jeho vzniku až do roku 2020, spolu s tvorbou a úspěchy jihokorejských umělců. Součástí práce je i zpracování dvou dotazníků. Jeden zpracovává názor české veřejnosti na k-pop, druhý byl mířený na českou k-pop komunitu a její myšlenky ohledně tohoto žánru. Abstract This master´s thesis is describing music genre k-pop, its history, artists and their own evolution, and impact of the genre on society. It is also trying to introduce this genre, full of diverse music, dance and culture movements, to the public.
    [Show full text]
  • K-Pop Fandom in Lima,Perú
    Wesleyan ♦ University K-POP FANDOM IN LIMA, PERÚ: VIRTUAL AND LIVE CIRCULATION PATTERNS By Stephanie Ho Faculty Advisor: Dr. Mark Slobin A Dissertation submitted to the Faculty of Wesleyan University in partial fulfillment of the requirements for the degree of Master of Arts. Middletown, Connecticut MAY 2015 i Acknowledgements I would like to thank my advisor, Dr. Mark Slobin, for his invaluable guidance and insights during the process of writing this thesis. I am also immensely grateful to Dr. Su Zheng and Dr. Matthew Tremé for acting as members of my thesis committee and for their considered thoughts and comments on my early draft, which contributed greatly to the improvement of my work. I would also like to thank Gabrielle Misiewicz for her help with editing this thesis in its final stages, and most importantly for supporting me throughout our time together as classmates and friends. I thank the Peruvian fans that took the time to help me with my research, as well as Virginia and Violeta Chonn, who accompanied me on fieldwork visits and took the time to share their opinions with me regarding the Limeñan fandom. Thanks to my friends and colleagues at Wesleyan – especially Nicole Arulanantham, Gen Conte, Maho Ishiguro, Ellen Lueck, Joy Lu, and Ender Terwilliger – as well as Deb Shore from the Music Department, and Prof. Ann Wightman of the Latin American Studies Department. From my pre-Wesleyan life, I would like to acknowledge Francesca Zaccone, who introduced me to K-pop in 2009, and has always been up for discussing the K-pop world with me, be it for fun or for the purpose of helping me further my analyses.
    [Show full text]
  • English Song Booklet
    English Song Booklet SONG NUMBER SONG TITLE SINGER SONG NUMBER SONG TITLE SINGER 100002 1 & 1 BEYONCE 100003 10 SECONDS JAZMINE SULLIVAN 100007 18 INCHES LAUREN ALAINA 100008 19 AND CRAZY BOMSHEL 100012 2 IN THE MORNING 100013 2 REASONS TREY SONGZ,TI 100014 2 UNLIMITED NO LIMIT 100015 2012 IT AIN'T THE END JAY SEAN,NICKI MINAJ 100017 2012PRADA ENGLISH DJ 100018 21 GUNS GREEN DAY 100019 21 QUESTIONS 5 CENT 100021 21ST CENTURY BREAKDOWN GREEN DAY 100022 21ST CENTURY GIRL WILLOW SMITH 100023 22 (ORIGINAL) TAYLOR SWIFT 100027 25 MINUTES 100028 2PAC CALIFORNIA LOVE 100030 3 WAY LADY GAGA 100031 365 DAYS ZZ WARD 100033 3AM MATCHBOX 2 100035 4 MINUTES MADONNA,JUSTIN TIMBERLAKE 100034 4 MINUTES(LIVE) MADONNA 100036 4 MY TOWN LIL WAYNE,DRAKE 100037 40 DAYS BLESSTHEFALL 100038 455 ROCKET KATHY MATTEA 100039 4EVER THE VERONICAS 100040 4H55 (REMIX) LYNDA TRANG DAI 100043 4TH OF JULY KELIS 100042 4TH OF JULY BRIAN MCKNIGHT 100041 4TH OF JULY FIREWORKS KELIS 100044 5 O'CLOCK T PAIN 100046 50 WAYS TO SAY GOODBYE TRAIN 100045 50 WAYS TO SAY GOODBYE TRAIN 100047 6 FOOT 7 FOOT LIL WAYNE 100048 7 DAYS CRAIG DAVID 100049 7 THINGS MILEY CYRUS 100050 9 PIECE RICK ROSS,LIL WAYNE 100051 93 MILLION MILES JASON MRAZ 100052 A BABY CHANGES EVERYTHING FAITH HILL 100053 A BEAUTIFUL LIE 3 SECONDS TO MARS 100054 A DIFFERENT CORNER GEORGE MICHAEL 100055 A DIFFERENT SIDE OF ME ALLSTAR WEEKEND 100056 A FACE LIKE THAT PET SHOP BOYS 100057 A HOLLY JOLLY CHRISTMAS LADY ANTEBELLUM 500164 A KIND OF HUSH HERMAN'S HERMITS 500165 A KISS IS A TERRIBLE THING (TO WASTE) MEAT LOAF 500166 A KISS TO BUILD A DREAM ON LOUIS ARMSTRONG 100058 A KISS WITH A FIST FLORENCE 100059 A LIGHT THAT NEVER COMES LINKIN PARK 500167 A LITTLE BIT LONGER JONAS BROTHERS 500168 A LITTLE BIT ME, A LITTLE BIT YOU THE MONKEES 500170 A LITTLE BIT MORE DR.
    [Show full text]
  • A Thesis Presented to the Faculty of Divinity of the University of Edinburgh for the Degree of Ph.D
    THE RELATION OF ST. PAUL'S ETHICS TO HIS DOCTRINE OF SALVATION BY H. W. KSRLEY, B.A., B.D. A THESIS PRESENTED TO THE FACULTY OF DIVINITY OF THE UNIVERSITY OF EDINBURGH FOR THE DEGREE OF PH.D. THE RELATION OF ST. PAUL'S ETHICS TO HIS DOCTRINE OF SALVATION CONTENTS Page CHAPTER ONE INTRODUCTION................................ 1 CHAPTER TWO CONVERSION AND BACKGROUND................... 10 CHAPTER THREE THE DOCTRINE OF "IN CHRIST1"................. 60 CHAPTER FOUR THE NATURE OF: REDEMPTION.................... 106 CHAPTER FIVE THE NATURE OF JUSTIFICATION................. 145 CHAPTER SIX THE NATURE OF RECONCILIATION................ 182 CHAPTER SEVEN THE LIFE OF HOLINESS........................ £14 CHAPTER EIGHT ETHICAL PRESUPPOSITIONS..................... 248 CHAPTER ONE INTRODUCTION In the epistles of St. Paul we find a remarkably well- developed theology. Ethical teaching is, however, by no means lacking. A brief survey is sufficient to show that a large proportion of his extant writings is devoted to practical advice and exhortation. Frequently the main body of ethical teaching follows the section in which his theology is developed and explained. Sometimes, as in the epistle to the Romans, the transition seems to be abrupt and the connection obscure. Possibly it is for this reason that there has been, at times, a tendency either to emphasize the doctrine or the ethic to the exclusion of the other, or to give more or less equal weight to both, and thus to emphasize the disconnection between the two. Some ages have taken St. Paul's doctrine without his ethic. Our own seems to be more concerned with ethics than with theology, and the attempt is made to establish morality without a doctrinal basis.
    [Show full text]
  • Navigating the Hyphen
    NAVIGATING THE HYPHEN Korean-American college students' processes of identification through practice Kyungchan Min Swarthmore College Sociology & Anthropology Department 2018 1 Philadelphia Zoo Wt'$! C Havertown WEST o ~l!srerPike PHllAOElPHIA Delaware Philadelphia Museum of Art 9 co~~~t~itY Broomall ~ College ... 0) Millbourne ~ Barnes Foundation 0) , Han Dynasty _ , sanChon Chicken Upper Darby V Korean fried chicken specialist Su Xing House East ~ef>.'1e • Upper )ro"idence Lansdowne ~~\ :a~:~~!~~~a~: ~ Township lansdowne Yeadon '<3) Springfield <; Clifton Heights GIRARD ESTATES Darby Media Swarthmore College Collingdale ~ Morton lincoln Financial Field ~ Swarthmore CSX Rail Yard Glenolden SOUTHWEST Philadelphia PHILAOELPHIA Rose Valley Folcroft Folsom John Heinz National Philadelphia Wildlife International Ridley Park Refuge at. ~ Airport ~ Q Brookhaven Westvil National Park Parkside Tinicum Township Eddystone Upland t<r-'(\"'''' l ip PENNSYLVANIA Chester NEW JERSEY Map of the Greater Philadelphia Area Swarthmore College and Bonchon Chicken, the geographic areas of research, are marked 2 Table of Contents TABLE OF CONTENTS ....................................................................................................................................... 2 ACKNOWLEDG EM ENTS ...................................................................................................................................3 CHAPTER 1: "AN URGENT NECESSITY ... TO WRITE OURSELVES INTO EXISTENCE" ............................. .4 CHAPTER 2: TO BECOME AN
    [Show full text]
  • THE GLOBALIZATION of K-POP by Gyu Tag
    DE-NATIONALIZATION AND RE-NATIONALIZATION OF CULTURE: THE GLOBALIZATION OF K-POP by Gyu Tag Lee A Dissertation Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Doctor of Philosophy Cultural Studies Committee: ___________________________________________ Director ___________________________________________ ___________________________________________ ___________________________________________ Program Director ___________________________________________ Dean, College of Humanities and Social Sciences Date: _____________________________________ Spring Semester 2013 George Mason University Fairfax, VA De-Nationalization and Re-Nationalization of Culture: The Globalization of K-Pop A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at George Mason University By Gyu Tag Lee Master of Arts Seoul National University, 2007 Director: Paul Smith, Professor Department of Cultural Studies Spring Semester 2013 George Mason University Fairfax, VA Copyright 2013 Gyu Tag Lee All Rights Reserved ii DEDICATION This is dedicated to my wife, Eunjoo Lee, my little daughter, Hemin Lee, and my parents, Sung-Sook Choi and Jong-Yeol Lee, who have always been supported me with all their hearts. iii ACKNOWLEDGEMENTS This dissertation cannot be written without a number of people who helped me at the right moment when I needed them. Professors, friends, colleagues, and family all supported me and believed me doing this project. Without them, this dissertation is hardly can be done. Above all, I would like to thank my dissertation committee for their help throughout this process. I owe my deepest gratitude to Dr. Paul Smith. Despite all my immaturity, he has been an excellent director since my first year of the Cultural Studies program.
    [Show full text]