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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. -
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). -
Key Officers List (UNCLASSIFIED)
United States Department of State Telephone Directory This customized report includes the following section(s): Key Officers List (UNCLASSIFIED) 9/13/2021 Provided by Global Information Services, A/GIS Cover UNCLASSIFIED Key Officers of Foreign Service Posts Afghanistan FMO Inna Rotenberg ICASS Chair CDR David Millner IMO Cem Asci KABUL (E) Great Massoud Road, (VoIP, US-based) 301-490-1042, Fax No working Fax, INMARSAT Tel 011-873-761-837-725, ISO Aaron Smith Workweek: Saturday - Thursday 0800-1630, Website: https://af.usembassy.gov/ Algeria Officer Name DCM OMS Melisa Woolfolk ALGIERS (E) 5, Chemin Cheikh Bachir Ibrahimi, +213 (770) 08- ALT DIR Tina Dooley-Jones 2000, Fax +213 (23) 47-1781, Workweek: Sun - Thurs 08:00-17:00, CM OMS Bonnie Anglov Website: https://dz.usembassy.gov/ Co-CLO Lilliana Gonzalez Officer Name FM Michael Itinger DCM OMS Allie Hutton HRO Geoff Nyhart FCS Michele Smith INL Patrick Tanimura FM David Treleaven LEGAT James Bolden HRO TDY Ellen Langston MGT Ben Dille MGT Kristin Rockwood POL/ECON Richard Reiter MLO/ODC Andrew Bergman SDO/DATT COL Erik Bauer POL/ECON Roselyn Ramos TREAS Julie Malec SDO/DATT Christopher D'Amico AMB Chargé Ross L Wilson AMB Chargé Gautam Rana CG Ben Ousley Naseman CON Jeffrey Gringer DCM Ian McCary DCM Acting DCM Eric Barbee PAO Daniel Mattern PAO Eric Barbee GSO GSO William Hunt GSO TDY Neil Richter RSO Fernando Matus RSO Gregg Geerdes CLO Christine Peterson AGR Justina Torry DEA Edward (Joe) Kipp CLO Ikram McRiffey FMO Maureen Danzot FMO Aamer Khan IMO Jaime Scarpatti ICASS Chair Jeffrey Gringer IMO Daniel Sweet Albania Angola TIRANA (E) Rruga Stavro Vinjau 14, +355-4-224-7285, Fax +355-4- 223-2222, Workweek: Monday-Friday, 8:00am-4:30 pm. -
Age of the Dandy: the Flowering of Yoshiwara Arts
5 Age of the Dandy: The Flowering of Yoshiwara Arts Kiragawa Uramaro. Two geisha in typical niwaka festival attire with their hair dressed in the style of a young man. Ohide of the Tamamura-ya, seated, is receiving shamisen instruc- tion from Toyoshina of the Tomimoto school, ca. 1789. Courtesy of n 1751, Tanuma Okitsugu, a politician who left a significant mark on Christie’s New York. the second half of the eighteenth century, was one of many osobashti I serving the ninth shogun Ieshige. Osobashti were secretaries who con- veyed messages between the shogun and counselors, a position of a modest income, which in Tanuma’s case carried an annual salary of 150 koku. By 1767, Tanuma was receiving approximately 20,000 koku as the personal secretary to the tenth shogun, Ieharu. Two years later, with a salary of 57,000 koku, Tanuma was a member of the powerful shogunate council. Although examples of favoritism and extravagant promotion had occurred under the previous shoguns Tsunayoshi and Ienobu, there was no precedent for the degree of actual power Tanuma Okitsugu had assumed. He won his position through a combination of superior intelligence, political skill, and personal charm. In addition, he made unscrupulous use of bribery to coun- selors in key positions and ladies of the shogun’s harem.1 In 1783, after his son Okitomo’s name was added to the shogun’s select list of counselors, father and son virtually ruled Japan. Kitagawa Utamaro. Komurasaki of To strengthen the nation’s economy, Tanuma Okitsugu allied himself the Great Miura and her lover Shirai with the commercial powers of Edo and Osaka and promoted industry and Gonpachi (discussed in Chapter 3). -
Urban Fictions of Early Modern Japan: Identity, Media, Genre
Urban Fictions of Early Modern Japan: Identity, Media, Genre Thomas Gaubatz Submitted in partial fulfillment of the Requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2016 © 2016 Thomas Gaubatz All rights reserved ABSTRACT Urban Fictions of Early Modern Japan: Identity, Media, Genre Thomas Gaubatz This dissertation examines the ways in which the narrative fiction of early modern (1600- 1868) Japan constructed urban identity and explored its possibilities. I orient my study around the social category of chōnin (“townsman” or “urban commoner”)—one of the central categories of the early modern system of administration by status group (mibun)—but my concerns are equally with the diversity that this term often tends to obscure: tensions and stratifications within the category of chōnin itself, career trajectories that straddle its boundaries, performative forms of urban culture that circulate between commoner and warrior society, and the possibility (and occasional necessity) of movement between chōnin society and the urban poor. Examining a range of genres from the late 17th to early 19th century, I argue that popular fiction responded to ambiguities, contradictions, and tensions within urban society, acting as a discursive space where the boundaries of chōnin identity could be playfully probed, challenged, and reconfigured, and new or alternative social roles could be articulated. The emergence of the chōnin is one of the central themes in the sociocultural history of early modern Japan, and modern scholars have frequently characterized the literature this period as “the literature of the chōnin.” But such approaches, which are largely determined by Western models of sociocultural history, fail to apprehend the local specificity and complexity of status group as a form of social organization: the chōnin, standing in for the Western bourgeoisie, become a unified and monolithic social body defined primarily in terms of politicized opposition to the ruling warrior class. -
I. Purpose II. Applicability III. Key Terms IV. General Provisions
Facility Usage and Event Policy Approved: President’s Cabinet Effective: August 16, 2011 Policy No.: 6-2.0 FACILITY USAGE AND EVENT POLICY I. Purpose The purpose of this policy is to ensure the effective use and enjoyment of the facilities at St. Thomas University and to ensure all events held at the University meet the University’s standards. STU’s Office of Physical Plant and Fernandez Family Center for Leadership and Wellness share the responsibility for the reservation of space and facilities, for all non-academic or non-credit activities. By policy, all requests for the use of University facilities for non-academic or non-credit activities must be submitted to either Offices of Physical Plant or Fernandez Family Center for Leadership and Wellness for processing. II. Applicability This policy applies to all reservations of STU facilities, regardless if reservation is for non-academic or non-credit activities, or made by a STU department, school, unit or non-university group. III. Key Terms A. Archdiocese of Miami (ADOM) – Any church or entity under the ADOM, does not have to provide a Certificate of Insurance for the use of a STU facility. B. Co-sponsored Event – An event in which the external sponsor is directly associated with an official STU sponsoring unit, organization, or group as recognized in the official structure of the STU requesting entity. By itself, the presence or involvement of STU students in an event is not sufficient to justify co-sponsorship of an external event. C. Non-For-Profit Organization – A nonprofit organization recognized by the United States Internal Revenue Code Section 501(c)(3). -
Marketing K-Pop and J-Pop in the 21St Century Sarah Brand Dickinson College
Dickinson College Dickinson Scholar Student Honors Theses By Year Student Honors Theses 5-21-2017 Marketing K-Pop and J-Pop in the 21st Century Sarah Brand Dickinson College Follow this and additional works at: http://scholar.dickinson.edu/student_honors Part of the Asian Studies Commons, Digital Humanities Commons, Japanese Studies Commons, Korean Studies Commons, Music Commons, and the Other Film and Media Studies Commons Recommended Citation Brand, Sarah, "Marketing K-Pop and J-Pop in the 21st Century" (2017). Dickinson College Honors Theses. Paper 266. This Honors Thesis is brought to you for free and open access by Dickinson Scholar. It has been accepted for inclusion by an authorized administrator. For more information, please contact [email protected]. MARKETING K-POP AND J-POP IN THE 21ST CENTURY Sarah Brand Senior Thesis Department of East Asian Studies Dickinson College May 10, 2017 Brand 2017 Music is an important part of daily life and, as a result, an integral part of culture. The way in which individuals are exposed to different genres and types of music helps illustrate the extent to which globalization has had an impact on the world. Before the invention of the internet, music was only available for purchase to consumers who went to record stores and physically purchased goods. Now, countless unique songs and genres are readily available with just a single search. Due to how easily consumers can access new music, digital distribution has completely overtaken the profit from selling physical copies of albums. In 2006, record labels still made $9.4 billion from CD sales in the United States, despite the fact that digital distribution entities, such as Napster and iTunes, provided digital copies of the same songs. -
Taemin at Least Once
Taemin at least once SHINee Taemin - At Least Once(by Song Chang-Sik) ?e3tjlza74pra {DL Link. Was asked to sub and I did ^-^ So sad and Taemins voice was so emotional!! Me pidieron que subtitulara esta. Taemin sag this song in Immortal Song, it's made by Song Chang Sik Hangul: . What better way for me to. Taemin - (At Least Once) - posted in Broadcasts: Original singer: Song Changshik ( )Performed on: Immortal Song. Stream SHINee Taemin - At Least Once [Inmortal Song 2] by TAEMINPERU from desktop or your mobile device. Taemin “Immortal Songs 2” performance: "I Don't Know"In "Taemin". Taemin “Immortal Songs 2” performance: "Wait a Minute"In "Taemin". Album: 2 Tracklist: 1. 2. 3. 4. 5. 6. 7. . Lee taemin at least once free mp3 download the direct link to listen to songs online. BeepCar — удобный сервис поиска попутчиков для поездок. Путешествуй выгодно и комфортно в хорошей компании! •••. At Least Once @ Immortal Song 2 (исполнитель: Lee Taemin (SHINee)). hanbeonjjeum mareul geolgetji eonjejjeumilkka eonjejjeumilkka tteollineun. Текст песни Taemin(SHINee) – At Least Once в открытом доступе бесплатно: han beon-cheum ma-reul keol-ket-ji eonjecheumil-kka eonjecheumil-kka. Гледай Taemin (Shinee) - At Least Once - Immortal Song 2, видео качено от nugu. Vbox7 – твоето любимо. Тут можно слушать онлайн и бесплатно скачать песню At Least Once @ Immortal Song 2 от Taemin в формате mp3. Просто нажми на нужную. Перевод, тайминг: Налини ˜"*°•☆DragonTeam☆•°*"˜ DISCLAIMER: I do not own the video. Watches. Taemin - At Least Once () | He's grown up Dragon. Кореяның “Ескірмейтін əн 2” (Immortal Song 2) шоуы жас айдолдардың жанды дауыста айта алатындарын тексеру үшін ашылған шоу. -
Jprivilegiilllg Tt1bie- Vis1ulal: Jpartjiji
6 OBOEGAKI Volume 3 Number 2 JPrivilegiilllg tt1bie- Vis1Ulal: JPartJIJI @ Melinda Takeuchi Stanford University What follows is a revisedsyllabus from my one-quartercourse "Arts of War andPeace: Late Medieval and Early Modem Japan, 1500-1868." Like all syllabi, no matter how frequently I re-do it, this one seems never to reflect my current thinking about the subject. I find that as my approach moves farther from the way I was trained, which consisted mainly of stylistic analysis and aesthetic concerns, I have begun to wonder whether I am using art to illustrate culture or culture to illuminate art. Perhaps the distinction is no longer important. Next time I do the class I will approach the material more thematically ("The Construction of Gender," "The City," "Travel," etc.); I will also do more with the so-called minor or decorative arts, including robes, arms, armor, and ceramics. Text used was Noma Seirok~, Arts of Japan, vol. 2, Late Medieval to Modem (Tokyo, New York, and San Francisco: Kodansh;l International Ltd., 1980), chosen primarily for its reproductions. I also made a duplicate slide set of roughly 150 slides and put them on Reserve. POWER SPACES:MILITARY ARCHITECTURE OF THE LATE SIXTEENTH AND EARL Y SEVENTEENTH CENTURIES Various kinds of domestic architecture existed during the late sixteenth century (best viewed in screens known as Rakuchu Rakugai zu ~1fJ~..)i.~ depicting the city of Kyoto). The most common (and the least studied) are the long shingle-roofed rowhouses of commoners, which fronted the streets and often doubled as shop space. In contrast, wealthy courtiers and warriors lived in spacious mansions consisting of various buildings linked by roofed corridors and enclosed by wooden walls and sliding doors, the top half of which waS often papered with translucent shoji ~-=f screens. -
SM Entertainment (041510) Earnings Preview
January 22, 2014 Equity Research SM Entertainment (041510) Earnings Preview Kicking Off the Year with “Something” 4Q13 preview: sales +19%, OP +8% YoY BUY SM Entertainment should report 4Q13 sales of W55.0bn (+19.3% YoY) and OP of W15.3bn (+8.5%), largely in line with its earnings I TP (12M): W57,500 (↑) I CP (Jan. 21): W46,450 guidance if excluding the impact of yen depreciation. Key events reflected in 4Q13 results include SM Town Tokyo concerts (100K audience), TVXQ’s Live Tour in Nissan Stadium (150K), Super Key Data Consensus Data Junior’s Tokyo Dome concerts (100K), SM Town China concerts KOSDAQ (pt) 520.99 2013 2014 (70K) and SM Town Korea Week concerts (80K). Considering 52 week High/Low(W) 50,600/29,350 Sales (Wbn) 167.1 201.1 investor confidence has gradually recovered on solid 3Q13 results, if Market cap(W bn) 959.1 OP (Wbn) 37.7 50.4 in-line 4Q13 results are confirmed, then earnings concerns should Market cap weight(%) 0.77 NP (Wbn) 30.8 41.7 diminish substantially. Shares out (’000) 20,648.3 EPS (W) 1,489 2,017 60-D avg. daily volume(’000) 295.0 BPS (W) 11,682 13,72 2 Consecutive record releases in 2014 to drive growth 60-D avg. daily value(W bn) 12.4 DPS Est. (W, 2013) 0 Stock Price DY Est. (%, 2013) 0.00 The key term for SM Entertainment in 2014 is albums. While the (W K) SM Entertainment Foreign ownership (%) 13.85 70 company concentrated its efforts in 2013 on album launches for Relative performance (RHS) Major shareholders’ stake (%) 110 EXO exclusively, this year it has scheduled album releases for most 60 Lee Soo Man 21.27 90 of its idol groups, starting with TVXQ’s ‘Something’ on January 1; in 50 Truston Asset Management 8.93 addition, albums for Girls’ Generation, Shinee, Super Junior and 40 70 Performance 1M 6M 12M new idol group SM Rookies are to be launched in 1H14. -
Some Remarks on Kuki Shūzō's Philosophy of Aesthetics
ISSN: 1500-0713 ______________________________________________________________ Article Title: Following the Footsteps of Wind: Some Remarks on Kuki Shūzō’s Philosophy of Aesthetics Author(s): Lorenzo Marinucci Source: Japanese Studies Review, Vol. XXIII (2019), pp. 81-94 Stable URL: https://asian.fiu.edu/projects-and-grants/japan- studiesreview/journal-archive/volume-xxiii-2019/marinucci- lorenzo-kuki-shuzos-philosophy-of-aesthetics.pdf ______________________________________________________________ FOLLOWING THE FOOTSTEPS OF WIND: SOME REMARKS ON KUKI SHŪZŌ’S PHILOSOPHY OF AESTHETICS Lorenzo Marinucci Università degli Studi di Roma Tor Vergata A Traveling Philosopher Kuki Shūzō 九鬼周造 (1888–1941) is one of the best-known modern Japanese philosophers both in and outside of Japan. In the translation of his essay, “A Reflection on Poetic Spirit,”1 that follows this article, I contribute to the understanding of his thought by presenting for the first time in English one of his shorter but important later works. Here is a brief introduction to his life and thought. Kuki’s fame is largely based on several factors from his biography. Kuki was born right after a scandal in the highest echelons of the Meiji cultural elite. The affair between his mother Hatsu (a former geisha who had married the baron and diplomat Kuki Ryūichi) and Okakura Tenshin (one of the early protagonists of modern Japanese aesthetics) occurred when Okakura was charged to accompany a pregnant Hatsu from the United States to Japan. This episode casts a particular light on Kuki’s intellectual biography. He received the level of education expected from his aristocratic background, but also internalized the ideal of poetic freedom and anti-conformism represented by his second father figure, Okakura. -
Shinee the Shinee World (Doo-Bop)
The SHINee World (Doo-Bop) SHINee Yeah SHINee world Asia produces number one SM as one Get the break down Sumgwangeul bondeuthan nooni boosyuhjildeuthan ijeh shijakdweneun tansaeng noogoongaga jikyubogo issuh SHINee world imi yesang dweneun nonrandeul yeah Mutjichugeun pilyo ubsuh oorin noraehaneun saramdeul geujuh choisuneul dahae moodae-eh sulddaeh jeulgu-oomeul neugguh SHINee, go! S H I N double E SHINee go! Geugunbaro oorideulyeh suntaek I wanna know you nuyeh gyuteh Gidarimeunggeut ijeh oorigawassuh We got the flow it’s break your naughty Jigeum eesoongan nan shijak dwessuh I wanna show it daboyuhjoolgeh Nuyeh murissogeun ijeh naegah jumryung We got the flow it’s drown my body Badadeulyuhbwa ijeh SHINee segyeh Oh on and on let me do it do it now geumdoh belgutgateun nalkaro-oon miso geum sogsuneul gajin voice SHINee dance SHINee’s One style bbyussoggaji seumyuhdeulgeh do it so now jigeum naega nuyeh mameh deuluhga Nunan numoo yebuh Eenoraero nan baro start San sogateun nuro dashi Geunyudeulyeh mameul naega sarojaba Kyuljungjugin sun-gan ape nan falsettoga pilyohaji anneunde ireon ge ganeung hagettna I wanna know you nuyeh gyuteh Gidarimeun ggeut ijeh oorigawassuh We got the flow it’s break your naughty Jjigeum eesoongan nan shijagdwessuh I wanna show it daboyuh joolgeh Nuyeh murissogeun ijeh naega jumryung We got the flow it’s drown my body Gabolsooga ubneun SHINee segyeh I wanna get you in this party Bbajyudeul ubwa nuyeh booming system We got the flow it’s break your naughty Cool hanchugeun nan juldae pilyo ubgo I wanna show it