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City Hunter Korean Drama Full Episode Tagalog Version
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Essays in Honor of John Defrancis on His Eightieth Birthday
SINO-PLATONIC PAPERS Number 27 August 3 1, 1991 $35.00 Schriftfestschrift: Essays on Writing and Language in Honor of John DeFrancis on His Eightieth Birthday edited by Victor H. Mair Order froni: Department of Oriental Studies University of Pennsylvania Phdadelphia, PA 19 104-6305 USA SINO-PLATONIC PAPERS is an occasional series edited by Victor H. Mair. The purpose of the series is to make available to specialists and the interested public the results of research that, because of its unconventional or controversial nature, might otherwise go unpublished. The editor actively encourages younger, not yet well established, scholars and independent authors to submit manuscripts for consideration. Contributions in any of the major scholarly languages of the world, including Romanized Modern Standard Mandarin (MSM) and Japanese, are acceptable. In special circumstances, papers written in one of the Sinitic topolects (fangyan) may be considered for publication. Although the chief focus of Sino-Platonic Papers is on the intercultural relations of China with other peoples, challenging and creative studies on a wide variety of philological subjects will be entertained. This series is not the place for safe, sober, and stodgy presentations. Sino-Platonic Papers prefers lively work that, while taking reasonable risks to advance the field, capitalizes on brilliant new insights into the development of civilization. The only style-sheet we honor is that of consistency. Where possible, we prefer the usages of the Journal of Asian Studies. Sinographs (hanzi, also called tetragraphs [fangkuaizi]) and other unusual symbols should be kept to an absolute minimum. Sino-Platonic Papers emphasizes substance over form. -
Travail Personnel Korean Entertainment
Travail Personnel Korean Entertainment Nom: Alves Chambel Prénom: Carolina Classe: 6G3 Tutrice: Amélie Mossiat 2019/2020 Introduction Hello, my name is Carolina and I am 14 years old. My 2019/2020 TRAPE is about Korean Entertainment! I have been into K-Pop for almost 3 years and I have always been researching lots of things about Korean celebrities, their activities and their TV shows. Since I was a child, I have always been very curious about the Asian culture, even though I thought they were gangster. As I grew up, I have become more and more connected to their culture. Then, at the end of 2016, I listened to my first K-Pop song ever. I was 10 years old and I was in primary school when I got to know EXO, the first group I listened to. They had a big impact in my life because in that moment I was struggling mentally and physically... The only thing that made me happy, was listening to their songs! They would make feel better in every way possible, once I listened to some music, I’d completely forget about my worries. It was always the best part of my days. That is why I have grown attached to K-Pop songs, dances and singers. Table of contents WHAT WERE THE MOST FAMOUS SERIES (KOREAN DRAMAS)? (2019) IS IT POPULAR IN OTHER COUNTRIES? WHO IS MY FAVOURITE ACTOR AND ACTRESS? ARE IDOLS ALSO ACTORS? WHAT GENRES OF DRAMAS ARE THERE? WHAT GENRE OF MUSIC DO THEY DO? WHAT ARE THE MOST FAMOUS GROUPS IN KOREA AND INTERNATIONALLY? WHAT ARE THE MOST FAMOUS SONGS? DO K-DRAMAS ALSO HAVE SONGS? What were the most famous series (Korean Dramas)? (2019) Since we are at the beginning of 2020, it would be better to make a list of the 10 most popular K- Dramas in 2019. -
Han'gŭlization and Romanization
HAN’GŬLIZATION AND ROMANIZATION: TWO MODELS OF SCRIPT CHANGE by TIMOTHY WAYLAND ALFORD DOUGLAS LIGHTFOOT, COMMITTEE CHAIR JOHN PETROVIC, COMMITTEE CO-CHAIR ERIN O’ROURKE MICHAEL PICONE BEDRETTIN YAZAN A DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Modern Languages and Classics in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2019 Copyright Timothy Wayland Alford 2019 ALL RIGHTS RESERVED ABSTRACT Script change is a branch of language planning and language policy. To assist language planners and policy makers with their endeavors, I have performed a Qualitative Research Synthesis to determine if the Han’gŭlization of Korean and the Romanization of Turkish are two distinct models of script change and if one model is more useful than the other. After describing language planning and policy making, I define script change, operationalize the terms used in the field, and discuss its history, its causes, and factors. Then, I explain the methodology and detail how I use it. Next, there are case studies of the language communities which exemplify the two models of script change: Korean representing the evolutionary one and Turkish the revolutionary. Following that, there are selected studies regarding the status of each script change. Current research on Korean asks who should receive credit for the revaluation of Han’gŭl; for Turkish the concern is national identity reconstruction along neo-Ottomanist lines. The data extracted from the selected studies are used to identify themes and sub-themes for producing a synthesis and a comparative analysis. My conclusion is that the answers to my questions are in the affirmative: the two models are distinct, and one is more useful than the other. -
The Romantic Perpetuation of Patriarchy Through the Representation of Pretty Boy in Popular Korean Dramas in Malaysia
© Media Watch 8 (3) 298-310, 2017 ISSN 0976-0911 e-ISSN 2249-8818 DOI: 10.15655/mw/2017/v8i3/49153 Prettiness as a Shield: The Romantic Perpetuation of Patriarchy through the Representation of Pretty Boy in Popular Korean Dramas in Malaysia SOH WENG KHAI & JULIANA ABDUL WAHAB School of Communication, Universiti Sains Malaysia The idea of being a pretty boy was hailed as a regional privileged male ideal in Asia after the booming of Korean wave in late 1990s that saw Korean drama featuring men that openly embrace both masculine and feminine traits. They were often described as tall, possessing a slim feminine face, fashionable and romantic. While the pretty boy image was seen as a form of 'new masculinity' that acknowledged women equally, however, critical qualitative content analysis of popular Korean dramas in Malaysia, Moon Embracing the Sun (2012) and The Heirs (2013) revealed that these Korean men were feminised through the use of constant fragmented and close-up shots, and also through the use of bright and colourful costume. Although they did not hide their emotions, however, this performance only took place in the private sphere. As much as the metrosexual tried hard to disassociate themselves with the notion of femininity and queerness, the idea of being a pretty boy showed similar disavowal-masculinity is maintained through high-ranked social position despite there is an acceptance of a more feminised appearance. Keywords: Pretty boy, metrosexuality, masculinity, Korean drama, Korean wave Deemed as the contemporary dominant incarnation of East Asian popular culture (Ainslie & Lim, 2015, p. 2), the Korean wave (or popularly known as hallyu) has showed no sign of shrinking after almost two decades since the release of Winter Sonata that start exporting Korean cultural phenomenon globally in 2002. -
The Heirs Tagalog Version Full Episode Download
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South Korea's Information Revolution 1997-2007 A
THE MAKING OF A CYBORG SOCIETY: SOUTH KOREA'S INFORMATION REVOLUTION 1997-2007 A THESIS SUBMITIED TO THE GRADUATE DMSION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN mSTORY MAY 2008 By Jonathan Clemens Thesis Committee: Theodore Y00, Chairperson Mark McNally ShanaBrown We certify that we have read this thesis and that, in om opinion, it is satisfactory in scope and quality as a thesis for the degree of Master of Arts in History. THESIS COMMITTEE ~~)fI1O ii Table of Contents Timeline .........................................................................................................iv Entering into a digital age... ........................................................................ .1 Introduction .............................•..................................................................... .3 Methodology ............................................................................................ 6 Historiography ......................................................................................... 9 Source Base ............................................................................................. 11 Summary .................................................................................................. 12 Chapter One: The Information Revolution .................................................... 15 Conceptualizing the Information Age ...................................................... 15 Chapter Two: Crisis and Reformation ...........................................................30 -
Park Hyung-Sik Joins UAA & Co, Subsidiary Of
spackmanentertainmentgroup NEWS RELEASE PARK HYUNG-SIK JOINS UAA & CO, SUBSIDIARY OF SPACKMAN ENTERTAINMENT GROUP’S ASSOCIATED COMPANY, SPACKMAN MEDIA GROUP • Park Hyung-sik, one of Korea’s highly sought-after free agent actors, signs with UAA & Co • UAA & Co now manages 3 of the most recognized names in the Korean entertainment industry, namely Song Hye-kyo, Yoo Ah-in, and Park Hyung- sik Singapore, 17 April 2017 – Spackman Entertainment Group Limited (“Spackman Entertainment Group” or the “Company” and together with its subsidiaries, the “Group”), one of Korea’s leading entertainment production groups, announced today that Park Hyung-sik, currently one of Korea’s most popular young actors, has signed with UAA & Co Inc. (“UAA & Co”), a subsidiary of the Group’s associated company, Spackman Media Group Limited (“Spackman Media Group”). UAA & Co’s signing of Park Hyung-sik comes on the heels of his breakout lead performance in the recent JTBC ratings-hit drama, STRONG WOMAN DO BONG-SOON, which aired its final episode on 15 April 2017. The actor is a former member of boy group, ZE:A, and began his acting career in 2012, starring in Korean dramas such as I REMEMBER YOU (2012), DUMMY MOMMY (2012), THE HEIRS (2013), HIGH SOCIETY (2015), and HWARANG: THE POET WARRIOR YOUTH (2016). Notably, he won the “New Star Award” at the 23rd SBS Drama Awards and “2014 Shining Star” on KBS Entertainment Weekly in 2015, as well as “Best New Actor” at the 28th KBS Drama Awards in 2014. UAA & Co, led by veteran agent Ms. Ellen Park, is one of the leading entertainment talent agencies in Korea, managing three of the most recognized names in the Korean entertainment industry, namely Song Hye-kyo, Yoo Ah-in, and Park Hyung- sik. -
Malay Women Readings of Korean Drama
Journal of Education and Social Sciences, Vol. 4, (June) ISSN 2289-9855 2016 MALAY WOMEN READINGS OF KOREAN DRAMA Norbaiduri Ruslan, Department of Communication International Islamic University Malaysia [email protected] Siti Sakinah Abdul Latif Department of Communication International Islamic University Malaysia (IIUM) [email protected] _____________________________________________________________________ ABSTRACT Korean drama has a stronghold position in the global entertainment scene. In Malaysia, the craving for Korean drama started about a decade ago when the hit-drama ‘Winter Sonata’ made its debut. Korean dramas become household favorites, especially among women. This study reports some findings on the audience reception study of Korean drama among avid Korean drama fans. Four focus group interviews using semi-structured protocol were conducted of which two groups were comprised of adolescents and another two groups were adults. The main research question was, “How do Malay women read Korean drama media text?” The analysis of the verbatim transcriptions yielded eight salient themes: 1) Male-centric; 2) Family oriented; 3) Female-centric; 4) Cultural values; 5) Storyline; 6) Cosmopolitan lifestyle; 7) Realism (Fantasy Love); and 8) Parasocial relationship. The findings are discussed from Stuart Hall’s dominant, preferred, negotiated, and oppositional reading. Keywords: reception study, Korean drama, reading of media text, audience study. _______________________________________________________________ Introduction Winter Sonata is epitome of Korean Wave or Hallyu’s presence in Malaysia. The term ‘Korean Wave’ or Hallyu was first coined by a Chinese journalist back in 1997 to describe the popularity of a Korean drama, All About Love, that was aired in the republic (Shim, 2006; Shim, 2008; Jung, 2009). -
The Analysis of Reasons Behind the Success of Korean Dramas: Take “My Love from the Star” for Example
投稿類別:英文寫作類 篇名: The Analysis of Reasons Behind the Success of Korean Dramas: Take “My Love from the Star” for Example. 作者: 楊淳斐。國立新竹女子高級中學。二年一班 指導老師: 黃吉慶老師 The Analysis of Reasons Behind the Success of Korean Dramas: Take “My Love from the Star” for Example. I. Introduction 1. Motivation It is no exaggeration that Korean Drama has become part of most Asians’ life, especially in both Taiwan and China. As a matter of fact, any merchandise related to popular Korea dramas would soon be sold out. Among all these popular Korean dramas, the one stands out in 2014 will definitely be “My love from the star (來自星星的你).” In addition to 50 billion Click-through rates (CTR) in China, the drama “My love from the star” also remains No.5 and No.6 in Top searches of Yahoo Taiwan’s mobile and computer version of 2014. Moreover, it had an average of 24.02% national ratings in Korea while being voted as “the favorite TV shows of Korea” in a survey conducted by the GallupKorea last year. Besides, this drama, had taken Asia by storm and the fever had lasted for months. With this instant hit’s tremendous impact on various aspects of Asian people’s life, the author of this dissertation is eager to learn the reasons behind its success. Accordingly, this study aims at analyzing the following two research questions about Korean dramas, by taking “My love from the star” for example: (1) The elements contributing to the success of “my love”. (2) The strategies adopted to gain overseas popularity in Taiwan and China. -
Crash Landing on You and North Korea: Representation and Reception in the Age of K-Drama
Volume 18 | Issue 12 | Number 5 | Article ID 5408 | Jun 05, 2020 The Asia-Pacific Journal | Japan Focus Crash Landing on You and North Korea: Representation and Reception in the Age of K-Drama Stephen Epstein, Christopher K. Green Abstract surrounding media environment. We also add to a growing body of scholarship that situates South Korean dramas within broader social and political contexts. Keywords: Crash Landing on You; K-drama; Hallyu; South Korean popular culture; North Korean defectors; talbukja; Hyun Bin; Son Ye- jin Crash Landing on You (Sarang-ui bulsichak), a Crash Landing on You (Sarang-ui bulsichak), a 16-episode drama on South Korean cable 16-episode drama on South Korean cable channel tvN in 2019-20 that was also released channel tvN featuring top stars Hyun Bin and on Netflix, has drawn broad attention for its Son Ye-jin, has drawn broad attention for its storyline featuring a South Korean heiress unusual storyline: a South Korean chaebol stranded in North Korea who falls in love with heiress, stranded in North Korea after a an elite military officer. Though the show paragliding mishap, falls in love with a Korean invokes many formulae of South Korean People’s Army officer from an elite Pyongyang dramas, it also offers a detailed portrait of family. The first episode aired on 14 December North Korea, and, as such, is a crucial text for 2019, and the show wrapped up on 16 evaluating ongoing change in South Korean February 2020. Over the course of its tvN popular representations of its neighbour. broadcast, viewership rose week by week and Indeed, given the concerted use of North the show’s finale achieved almost a 22% Korean backdrops in Crash Landing on You and audience share in South Korea, the second the size and global extent of its audiences, the highest ever for a cable drama to that date.1 show is likely the most noteworthy South Equally notably, the near immediate subtitled Korean popular culture representation of North Netflix release of each episode in multiple Korea yet produced. -
BAB IV HASIL DAN PEMBAHASAN 4.1. Gambaran Umum Subjek Penelitian 4.1.1 Drama the Heirs Korean Wave Bagi Masyarakat Indonesia
BAB IV HASIL DAN PEMBAHASAN 4.1. Gambaran Umum Subjek Penelitian 4.1.1 Drama The Heirs Korean wave bagi masyarakat Indonesia menjdi budaya yang sudah tidak asing lagi. Terlebih lagi sejak tahun 2000 masyarakat Indonesia telah mengenal adanya K-drama. K-drama sendiri identik dengan alur percintaan yang digambarkan dengan adegan romantis. Ditengah berkembangnya budaya barat, Korea mampu membuktikan eksistensinya melalui K-drama. Drama The Heirs bercerita tentang kisah sekelompok orang kaya yang merupakan siswa dari SMA elit bernama SMA Jeguk. Siswa di SMA ini dipersiapkan untuk mengambil alih perusahaan keluarga mereka. Mereka mempunyai segalanya, kecuali rasa cinta. Kim Tan ( Lee Minho) adalah seorang pewaris dari grup Jeguk yang sekaligis pemilik dari SMA Jeguk. Dia tampan dan dikirim untuk belajar di Amerika Serikat (AS). Namun pada kenyataannya keberadaan Kim Tan di AS merupakan sebuah bentuk pengasingan bagi dirinya. Kehidupan Kim Tan di AS membuatnya rindu dengan Korea. Suatu hari dia melihat pemandangan dimana seorang gadis Korea bernama Eun Sang (Park Shinhye) sedang bertengkar dengan kakaknya yang hidup AS karena kebohongan yang dilakukan kakaknya dimana dia mengaku berkuliah dan sudah menikah dan pada kenyataanya disana dia menjadi pelayan. Melihat itu semua Kim Tan merasa iba pada Eun Sang, dari sinilah pertemuan mereka berawal. Kim Tan kemudian membawa Eun Sang kerumahnya untuk tinggal sementara selama di AS. Tiba-tiba dihari berikutnya dating Yoo Rachel (Kim Ji Won) yang merupakan tunangan Kim Tan dan meminta Tan untuk kembali ke Korea bersamanya. Disaat Rachel meminta Kim Tan untuk kembali, disitu adapula Eun Sang yang sedang berada dirumah Kim Tan. Kemudian setelah itu dimulailah perseteruan antara Rachel dan Eun Sang yang berlanjut hingga mereka kembali ke Korea.