6/06 Neoliberalism and the Gwangju Uprising
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Universidad Peruana De Ciencias Aplicadas Facultad
Caracterización de los procesos de consumo de los K- Dramas y videos musicales de K-Pop, y su incidencia en la construcción de la identidad y formas de socialización en la comunidad Hallyu de Lima. Una aproximación desde los fenómenos de audiencia en K-Dramas Descendants of the Sun y Goblin: The Lonely and Great God, y los fenómenos de tendencia musical de los grupos BIG BANG y Bangtan Boys; Beyond The Scene a.k.a BTS Item Type info:eu-repo/semantics/bachelorThesis Authors Mosquera Anaya, Heidy Winie Publisher Universidad Peruana de Ciencias Aplicadas (UPC) Rights info:eu-repo/semantics/openAccess; Attribution- NonCommercial-ShareAlike 4.0 International Download date 10/10/2021 11:56:20 Item License http://creativecommons.org/licenses/by-nc-sa/4.0/ Link to Item http://hdl.handle.net/10757/648589 UNIVERSIDAD PERUANA DE CIENCIAS APLICADAS FACULTAD DE COMUNICACIONES PROGRAMA ACADÉMICO DE COMUNICACIÓN AUDIOVISUAL Y MEDIOS INTERACTIVOS Caracterización de los procesos de consumo de los K-Dramas y videos musicales de K-Pop, y su incidencia en la construcción de la identidad y formas de socialización en la comunidad Hallyu de Lima. Una aproximación desde los fenómenos de audiencia en K-Dramas Descendants of the Sun y Goblin: The Lonely and Great God, y los fenómenos de tendencia musical de los grupos BIG BANG y Bangtan Boys; Beyond The Scene a.k.a BTS. TESIS Para optar el título profesional de Licenciado en Comunicación Audiovisual y Medios Interactivos AUTOR(A) Mosquera Anaya, Heidy Winie (0000-0003-4569-9612) ASESOR(A) Calderón Chuquitaype, Gabriel Raúl (0000-0002-1596-8423) Lima, 01 de Junio de 2019 DEDICATORIA A mis padres Abraham y Luz quienes con su amor, paciencia y esfuerzo me han permitido llegar a cumplir hoy un sueño más. -
Former Ambassador Donald Gregg Discusses Park Chung-Hee's Legacy
Former Ambassador Donald Gregg Discusses Park Chung-hee’s Legacy Interview with Donald P. Gregg, Former Chairman of the Board of The Korea Society, Ambassador to South Korea and CIA Korea Chapter director Former Ambassador to South Korea Donald Gregg displays Joseon-era pottery he purchased in Seoul‟s Insa-dong in 1968. (Photo by Kwon Tae-ho) By Kwon Tae-ho Washington Correspondent The Hankyoreh May.13, 2011 15:21 KST Hankyoreh: I’d like to ask you about the Coup. Before 1961, the U.S. didn’t capture any sign of a military coup? Donald Gregg: “I remember that Chang Myun was a Prime Minister, after Seung-Man Rhee. And the U.S. was very hopeful about him. I was in Japan at that time, and there was a lot of optimism about Chang Myun. He was going to be very different from Seung-Man Rhee. He was going to move South Korea toward democracy. we were very optimistic. Here was a new chapter in Korean history. But he was not particularly effective in dealing with the situation. And I think it was not too much of a surprise when the prime minister.. when Park Chung-hee overthrew him.” Did you now Park Chung-hee before? “No, I never met him. First time I met him was 1973. But I was in Japan and we were very interested in what‟s happening in Korea and so on. So.. I think they were having mixed feelings about Park Chung-hee coming in. He„d been trained by the Japanese; he was fluent in Japanese; there were some who worried that he might even be a leftist; there was confusion about what he was. -
If Not Us, Who?
Dario Azzellini (Editor) If Not Us, Who? Workers worldwide against authoritarianism, fascism and dictatorship VSA: Dario Azzellini (ed.) If Not Us, Who? Global workers against authoritarianism, fascism, and dictatorships The Editor Dario Azzellini is Professor of Development Studies at the Universidad Autónoma de Zacatecas in Mexico, and visiting scholar at Cornell University in the USA. He has conducted research into social transformation processes for more than 25 years. His primary research interests are industrial sociol- ogy and the sociology of labour, local and workers’ self-management, and so- cial movements and protest, with a focus on South America and Europe. He has published more than 20 books, 11 films, and a multitude of academic ar- ticles, many of which have been translated into a variety of languages. Among them are Vom Protest zum sozialen Prozess: Betriebsbesetzungen und Arbei ten in Selbstverwaltung (VSA 2018) and The Class Strikes Back: SelfOrganised Workers’ Struggles in the TwentyFirst Century (Haymarket 2019). Further in- formation can be found at www.azzellini.net. Dario Azzellini (ed.) If Not Us, Who? Global workers against authoritarianism, fascism, and dictatorships A publication by the Rosa-Luxemburg-Stiftung VSA: Verlag Hamburg www.vsa-verlag.de www.rosalux.de This publication was financially supported by the Rosa-Luxemburg-Stiftung with funds from the Ministry for Economic Cooperation and Development (BMZ) of the Federal Republic of Germany. The publishers are solely respon- sible for the content of this publication; the opinions presented here do not reflect the position of the funders. Translations into English: Adrian Wilding (chapter 2) Translations by Gegensatz Translation Collective: Markus Fiebig (chapter 30), Louise Pain (chapter 1/4/21/28/29, CVs, cover text) Translation copy editing: Marty Hiatt English copy editing: Marty Hiatt Proofreading and editing: Dario Azzellini This work is licensed under a Creative Commons Attribution–Non- Commercial–NoDerivs 3.0 Germany License. -
The GW Undergraduate Review, Volume 4
41 KEYWORDS: Korean democracy, Gwangju Uprising, art censorship DOI: https://doi.org/10.4079/2578-9201.4(2021).08 The Past and Present of Cultural Censorship in South Korea: Minjung Art During and After the Gwangju Uprising VIVIAN KONG INTERNATIONAL AFFAIRS, ESIA ‘23, [email protected] ABSTRACT The Gwangju Uprising provided pivotal momentum for South Korea’s path toward democracy and was assisted by the artwork by Minjung artists. However, the state’s continuous censorship of democratic art ironically contradicts with the principles that Gwangju upholds, generating the question: how does the censorship of democratic artists during and after the Gwangju Democratic Uprising affect artistic political engagement and reflect upon South Korea’s democracy? I argue that censorship of Minjung art is hypocritical in nature by providing key characteristics of democracy the South Korean state fails to meet. Minjung art intends to push for political change and has roots in the Gwangju Uprising, an event that was the catalyst in creating a democratic state, yet the state continues to suppress a democratic freedom of expression. Looking to dissolve the line between activism and art, Korean Minjung artists have been producing content criticizing the state from the 1980s to modern day despite repression from the state. Past studies and first-person accounts on Gwangju have focused separately on authoritarian censorship on art or on modern cultural censorship. This paper seeks to bridge this gap and identify the parallels between artistic censorship during South Korea’s dictatorships and during its democracy to identify the hypocrisy of the state regarding art production and censorship. -