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Landscapes of Korean and Korean American Biblical Interpretation
BIBLICAL INTERPRETATION AMERICAN AND KOREAN LANDSCAPES OF KOREAN International Voices in Biblical Studies In this first of its kind collection of Korean and Korean American Landscapes of Korean biblical interpretation, essays by established and emerging scholars reflect a range of historical, textual, feminist, sociological, theological, and postcolonial readings. Contributors draw upon ancient contexts and Korean American and even recent events in South Korea to shed light on familiar passages such as King Manasseh read through the Sewol Ferry Tragedy, David and Bathsheba’s narrative as the backdrop to the prohibition against Biblical Interpretation adultery, rereading the virtuous women in Proverbs 31:10–31 through a Korean woman’s experience, visualizing the Demilitarized Zone (DMZ) and demarcations in Galatians, and introducing the extrabiblical story of Eve and Norea, her daughter, through story (re)telling. This volume of essays introduces Korean and Korean American biblical interpretation to scholars and students interested in both traditional and contemporary contextual interpretations. Exile as Forced Migration JOHN AHN is AssociateThe Prophets Professor Speak of Hebrew on Forced Bible Migration at Howard University ThusSchool Says of Divinity.the LORD: He Essays is the on author the Former of and Latter Prophets in (2010) Honor ofand Robert coeditor R. Wilson of (2015) and (2009). Ahn Electronic open access edition (ISBN 978-0-88414-379-6) available at http://ivbs.sbl-site.org/home.aspx Edited by John Ahn LANDSCAPES OF KOREAN AND KOREAN AMERICAN BIBLICAL INTERPRETATION INTERNATIONAL VOICES IN BIBLICAL STUDIES Jione Havea Jin Young Choi Musa W. Dube David Joy Nasili Vaka’uta Gerald O. West Number 10 LANDSCAPES OF KOREAN AND KOREAN AMERICAN BIBLICAL INTERPRETATION Edited by John Ahn Atlanta Copyright © 2019 by SBL Press All rights reserved. -
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. -
Músicas Japonesas -.: Karaoke Box Kampai
CANTOR CÓD. TÍTULO 19 18483 ANO KAMI HIKOHKI KUMORIZORA WATTE Abe Shizue 18424 MIZU IRO NO TEGAMI Ai 2017 STORY Ai 18319 YOU ARE MY STAR Ai 18486 BELIEVE Ai Johji e Shiki Chinami 5103 AKAI GLASS Aikawa Nanase 5678 BYE BYE Aikawa Nanase 5815 SWEET EMOTION Aikawa Nanasse 5645 YUME MIRU SHOJYOJYA IRARENAI Aiko 2031 KABUTO MUSHI Akikawa Masafumi 2015 SEN NO KAZE NI NATTE Akimoto Junko 2011 MADINSON GUN NO KOI Akimoto Junko 2022 AI NO MAMA DE... Akimoto Junko 2124 AME NO TABIBITO Akimoto Junko 18233 TASOGARE LOVE AGAIN Akioka Shuji 2296 OTOKO NO TABIJI Akioka Shuji 18432 SAKE BOJO Alan 18485 BALLAD ~NAMONAKI KOI NO UTA~ Alice 2266 IMA WA MOH DARE MO Alice 5117 FUYU NO INAZUMA Amane Kaoru 18279 TAIYOH NO UTA Ami Suzuki 5658 ALONE IN MY ROOM Amin 2223 MATSU WA Amuro Namie 5294 STOP THE MUSIC Amuro Namie 5300 TRY ME (WATASHI O SHINDITE) Amuro Namie 5340 CAN YOU CELEBRATE Amuro Namie 5341 CHASE THE CHANCE Amuro Namie 5711 I HAVE NEVER SEEN Amuro Namie 5766 NEVER END Amuro Namie 5798 SAY THE WORD Amuro Namie 5820 THINK OF ME Amuro Namie 5838 WISHING ON THE SAME STAR An Cafe 18425 NATSU KOI NATSU GAME An Ri 2379 OLIVIA O KIKINAGARA Angela Aki 2040 THIS LOVE Angela Aki 2360 TEGAMI ~ HAIKEI JUHGO NO KIMI E Angela Aki 18211 KISS ME GOODBYE Angela Aki 18224 RAIN Angela Aki 18296 KAGAYAKU HITO Angela Aki 18358 WE'RE ALL ALONE Ann Lewis 2258 GOODBYE MY LOVE Ann Louise 5494 WOMAN Anri 18229 SUMMER CANDLES Anzen Chitai 5105 ANATANI Anzen Chitai 5107 AOI HITOMI NO ERIS Anzen Chitai 5280 FRIEND Anzen Chitai 5128 KANASHIMINI SAYONARA Página 1 CANTOR CÓD. -
18483 19 18486 Ai 2017 Ai 18319 Ai 2031 Aiko 18580 Alan 18485
ALDEBARAN KARAOKE Catálogo de Músicas - Por ordem de INTÉRPRETE Código INTÉRPRETE MÚSICA 18483 19 ANO KAMI HIKOHKI KUMORIZORA WATTE 18424 ABE SHIZUE MIZU IRO NO TEGAMI 18486 AI BELIEVE 2017 AI STORY 18319 AI YOU ARE MY STAR 5103 AI JOHJI & SHIKI CHINAMI AKAI GLASS 5678 AIKAWA NANASE BYE BYE 5815 AIKAWA NANASE SWEET EMOTION 5645 AIKAWA NANASE YUME MIRU SHOJYOJYA IRARENAI 2031 AIKO KABUTO MUSHI 2015 AKIKAWA MASAFUMI SEN NO KAZE NI NATTE 2022 AKIMOTO JUNKO AI NO MAMA DE 2124 AKIMOTO JUNKO AME NO TABIBITO 2011 AKIMOTO JUNKO MADINSON GUN NO KOI 18233 AKIMOTO JUNKO TASOGARE LOVE AGAIN 18562 AKIOKA SHUJI AIBOH ZAKE 2296 AKIOKA SHUJI OTOKO NO TABIJI 18432 AKIOKA SHUJI SAKE BOJO 18580 ALAN KUON NO KAWA 18485 ALAN NAMONAKI KOI NO UTA 5117 ALICE FUYU NO INAZUMA 2266 ALICE IMA WA MOH DARE MO 18279 AMANE KAORU TAIYOH NO UTA 5658 AMI SUZUKI ALONE IN MY ROOM 2223 AMIN MATSU WA 5340 AMURO NAMIE CAN YOU CELEBRATE 5341 AMURO NAMIE CHASE THE CHANCE 18536 AMURO NAMIE FIGHT TOGETHER 5711 AMURO NAMIE I HAVE NEVER SEEN 5766 AMURO NAMIE NEVER END 5798 AMURO NAMIE SAY THE WORD 5294 AMURO NAMIE STOP THE MUSIC 5820 AMURO NAMIE THINK OF ME 5300 AMURO NAMIE TRY ME (WATASHI O SHINJITE) 5838 AMURO NAMIE WISHING ON THE SAME STAR 18425 AN CAFÉ NATSU KOI NATSU GAME 18574 ANGELA AKI HOME 18296 ANGELA AKI KAGAYAKU HITO 18211 ANGELA AKI KISS ME GOODBYE 18224 ANGELA AKI RAIN 18552 ANGELA AKI SAKURA IRO 2360 ANGELA AKI TEGAMI ~ HAIKEI JUHGO NO KIMI E 2040 ANGELA AKI THIS LOVE 18358 ANGELA AKI WE'RE ALL ALONE 2258 ANN LEWIS GOODBYE MY LOVE 5494 ANN LOUISE WOMAN 2379 ANRI OLIVIA -
Hallyu at a Crossroads: the Clash of Korea's Soft Power Success and China's Hard Power Threat in Light of Terminal High
Asian International Studies Review Vol. 18 No.1 (June 2017): 153-169 153 Received March 15, 2017 Revised May 10, 2017 Accepted May 20, 2017 Hallyu at a Crossroads: The Clash of Korea’s Soft Power Success and China’s Hard Power Threat in Light of Terminal High Altitude Area Defense (THAAD) System Deployment HANNAH JUN* The past two decades have witnessed the remarkable success of Hallyu, or the Korean Wave, with Korea welcoming a large influx of foreign visitors and benefiting from massive consumption of products ranging from Korean television and film, K-pop and lifestyle products. A more recent announcement by CJ E&M points to an even more aggressive plan for regional ubiquity, as encapsulated by Hallyu 4.0. Simultaneously, we have already felt some of the effect of policy changes in China – a core Hallyu market – as a response to Korea’s plan to deploy a Terminal High Altitude Area Defense (THAAD) system. In this sense, we see the stirrings of a clash between Korean soft power and Chinese hard power, and are uncertain who will emerge on top. This paper examines the broad success of Hallyu from key theoretical perspectives, while addressing linkages between Korean corporations and cultural power/influence that have led to an announcement such as Hallyu 4.0. This paper also highlights the recent tensions between Korea and China, specifically with respect to THAAD deployment, and outlines potential implications for businesses and policymakers through preliminary scenarios. Keywords: Nuclear Taboo, Nuclear Arms, Deterrence, Norms, Proliferation, Just War * Assistant Professor, Ewha Womans University, Seoul, South Korea; E-mail: [email protected]; DOI: 10.16934/isr.18.1.201706.153 Downloaded from Brill.com09/28/2021 03:33:20PM via free access 154 Hallyu at a Crossroads I. -
Diversity of K-Pop: a Focus on Race, Language, and Musical Genre
DIVERSITY OF K-POP: A FOCUS ON RACE, LANGUAGE, AND MUSICAL GENRE Wonseok Lee A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2018 Committee: Jeremy Wallach, Advisor Esther Clinton Kristen Rudisill © 2018 Wonseok Lee All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Since the end of the 1990s, Korean popular culture, known as Hallyu, has spread to the world. As the most significant part of Hallyu, Korean popular music, K-pop, captivates global audiences. From a typical K-pop artist, Psy, to a recent sensation of global popular music, BTS, K-pop enthusiasts all around the world prove that K-pop is an ongoing global cultural flow. Despite the fact that the term K-pop explicitly indicates a certain ethnicity and language, as K- pop expanded and became influential to the world, it developed distinct features that did not exist in it before. This thesis examines these distinct features of K-pop focusing on race, language, and musical genre: it reveals how K-pop groups today consist of non-Korean musicians, what makes K-pop groups consisting of all Korean musicians sing in non-Korean languages, what kind of diverse musical genres exists in the K-pop field with two case studies, and what these features mean in terms of the discourse of K-pop today. By looking at the diversity of K-pop, I emphasize that K-pop is not merely a dance- oriented musical genre sung by Koreans in the Korean language. -
539 • October 22, 2015 • Outwordmagazine.Com
No. 539 • October 22, 2015 • outwordmagazine.com Special Issue! Homemade Cat Food Recipes page 9 Why Can’t They Be Friends? page 10 Do You Have the Same Personality as Your Dog? page 11 Pooch Parade & Halloween Festival page 14 CCAF Awards Rainbow Crosswalk Patty Griffin & Shawn Photo Show Spotlights Scholarships Unveiled Colvin Keep Folk Alive Drag Queens page 4 page 5 page 17 page 21 COLOR Outword Governor Signs Assisted Reproduction Law overnor Jerry Brown on October 7th signed a bill that up being required to pay child support by updates the state’s assisted reproduction laws to ensure that the state, for example, if the parents Staff conceived through at-home insemination. Gall families are equally protected under the law. AB 960 goes into effect January 1, 2016. PUBLISHER Authored by Assemblymember David family relationships are respected by the Fred Palmer Chiu, Assembly Bill 960 updates current law,” said NCLR Family Law Director Cathy assisted reproduction laws in three ways: Sakimura. “Every child deserves this ART DIRECTOR/PRODUCTION Ron Tackitt first, unmarried couples using assisted protection, no matter how they were reproduction to become parents will be conceived.” GRAPHIC DESIGN recognized as such on the same terms as Current law does not provide legal Ron Tackitt married parents from the moment their child protection to many families using assisted is born; reproduction. Today, many unmarried EDITOR Charles Peer Second, it removes the requirement that a couples using assisted reproduction are not [email protected] doctor or sperm bank must be involved recognized as the child’s parents when their when using assisted reproduction in order to children are born because this protection is ARTS EDITOR ensure that the donor is not a parent; and limited to married couples. -
YG Entertainment (122870 KQ ) Buying Opportunity Amid Shifting Perceptions
YG Entertainment (122870 KQ ) Buying opportunity amid shifting perceptions Entertainment Shifting perceptions: 1) Normalized lineup and new artist momentum Concerns over YG Entertainment’s artist void are dissipating. The company’s star group Big Bang is preparing to make a comeback, and at least one new act will debut this Company Report year. The company will have a total of five groups that can go on overseas arena tours, February 27, 2020 and we see potential for additional growth. Big Bang will make its long-awaited comeback at the US Coachella festival in April. With their contract almost certain to be renewed, the group is likely to release a new album and embark on a world tour. We expect to see additional positive headlines soon . BLACKPINK is set to make its return with the release of a new album around April , which (Upgrade) Buy is likely to include major collaborations related to its partnership with Universal Music Group . The group is also planning to tour the US and Europe, and the minimum Target Price (12M, W) 40,000 guarantee for the concerts is likely to be raised from last year, leading to a meaningful profit contribution. Meanwhile, iKON returned to the stage in early 2020 as a six-member Share Price (02/26/20, W) 31,750 group. For Treasure 12, whose debut was postponed for a year due to a scandal, the company is currently working on pre-marketing ahead of the group’s official debut. Expected Return 26% Shifting perceptions: 2) Discontinuation of loss-making operations to accelerate profit improvement YG Entertainment is unloading its new businesses and instead focusing on its core OP (19P, Wbn) 1 businesses. -
A Feminist Political Economy of the Korean Popular Music Industry
A Feminist Political Economy of the Korean Popular Music Industry by Hyejin Jo M.A., Hankuk University of Foreign Studies, 2016 B.A., Hankuk University of Foreign Studies, 2013 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the School of Communication Faculty of Communication, Art and Technology © Hyejin Jo 2019 SIMON FRASER UNIVERSITY Summer 2019 Copyright in this work rests with the author. Please ensure that any reproduction or re-use is done in accordance with the relevant national copyright legislation. Approval Name: Hyejin Jo Degree: Master of Arts Title: A Feminist Political Economy of the Korean Popular Music Industry Examining Committee: Chair: Daniel Ahadi Lecturer Dal Yong Jin Senior Supervisor Professor Martin Laba Supervisor Associate Professor Ju Oak Kim External Examiner Assistant Professor Department of Psychology and Communication College of Arts and Sciences at Texas A&M International University Date Defended/Approved: July 12, 2019 ii Abstract Gender disparity is an emerging issue in contemporary South Korea. Despite the significant increase in gendered concerns, there has been a lack of discussion on gender inequality problems in the Korean popular music industry. For this reason, this thesis aims to investigate gender inequalities and power relations embedded in the male-dominated Korean popular music industry by analyzing the texts, images and music of Korean girl groups through the lens of a feminist political economy. In doing so, this study utilizes textual analysis in order to examine how gendered hierarchy and patriarchal power, acting as industrial practices, exploit Korean girl groups in the Korean popular music industry. -
From World War to Cold War: Music in US-Korea Relations, 1941-1960
From World War to Cold War: Music in US-Korea Relations, 1941-1960 Dissertation Presented in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Hye-jung Park Graduate Program in Music The Ohio State University 2019 Committee: Danielle Fosler-Lussier, Ph.D., Advisor Ryan T. Skinner, Ph.D. Mitchell B. Lerner, Ph.D. Copyright by Hye-jung Park 2019 Abstract This dissertation examines music in US-Korea relations from 1941 to 1960. Beginning during World War II, the US government disseminated Western classical and American music in Korea. After the war, the United States also gained the confidence of Koreans by supporting Korean traditional music that had been suppressed under Japanese colonial rule. Yet South Koreans were not merely passive recipients of US propaganda. As the Korean War divided Korea into North and South, South Korean officials used music to affirm the anti-Communist alliance between South Korea and the United States. American music spread rapidly in South Korea, contributing to the formation of South Korean identities different from those of the Communist North. By tracing a history of musical relations in the transitional period from the colonial era to the early Cold War, this project emphasizes that US Cold War music propaganda programs were not an entirely new initiative but built on the foundations laid in the 1940s. By demonstrating that a peripheral country used music as a tool for political negotiations with a superpower, this project also expands the horizons of scholarship on music propaganda, which has focused overwhelmingly on US and Soviet interventions in Europe. -
Passion of Poetry St
Passion of Poetry St. Patrick School Cobalt 2009 - 2010 Passion Of Poetry St. Patrick School 2009-2010 Edited by: Chris Collins 1 Ten years of poetry. Ten years of St. Patrick School students pouring their hearts into verses of ponder and wonder. It seems that it was just yesterday that we held our very first poetry meeting. One decade later, our group is as strong and prolific as ever; I commend each and every one of you. You never cease to amaze me in your candour, as well as your convictions. One may ask why I would put so much time and energy into something as simple and “Insignificant” as poetry? I would have to respond that aside from it being an exceptionally good therapeutic tool for these students, it is also a growing process or path that they undertake. In writing, they learn how to reach into themselves and explore their emotions and reactions, challenge their imaginations, and strengthen their beliefs. Poetry is not simply part of the literature curriculum; it is a way of focusing on life, an object or an emotion in a more in-depth, precise and intimate way than any other writing form. Most thoughts race through your mind leaving you wondering if it was ever really there. A good poem will take up lodging and offer a lifetime of reminisces. I would like to thank my students this year for allowing me the privilege of working with them and sharing their poetry. For them it was a journey of self-evaluation and growth. For myself, a greater understanding and compassion for them and their beliefs was the most treasured return in working with these remarkable students. -
The K-Pop Factory Phenomenon
University of Wollongong Research Online Faculty of Law, Humanities and the Arts - Papers Faculty of Arts, Social Sciences & Humanities 1-1-2014 The K-pop Factory Phenomenon Brian Yecies University of Wollongong, [email protected] Ae-Gyung Shim University Of New South Wales, [email protected] Follow this and additional works at: https://ro.uow.edu.au/lhapapers Part of the Arts and Humanities Commons, and the Law Commons Recommended Citation Yecies, Brian and Shim, Ae-Gyung, "The K-pop Factory Phenomenon" (2014). Faculty of Law, Humanities and the Arts - Papers. 1452. https://ro.uow.edu.au/lhapapers/1452 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] The K-pop Factory Phenomenon Abstract Across the global music industry and the popular media, “K-pop” is both a buzzword and soft-power concept that encapsulates the astounding success currently enjoyed by Korean cultural contents, in terms of both production and export values. Despite creative input from a variety of international contributors, the meteoric rise of K-pop was not anticipated by most global music industry players.In addition, by circumventing the barriers to entry (and costs) associated with traditional media production and distribution channels dominated by a few major global players, successfully exploiting the promotional space offered by YouTube, and being an early adopter of this new commercial phenomenon, the K-pop industry has become a world leader in an intensely competitive field. Keywords pop, factory, k, phenomenon Disciplines Arts and Humanities | Law Publication Details B.