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Rebuilding the "Eastern Country of Ritual Propriety": Decorum Camps, Sŏwŏn Stays, and the Confucian Revival in Contemporary Korea
Rebuilding the "Eastern Country of Ritual Propriety": Decorum Camps, Sŏwŏn Stays, and the Confucian Revival in Contemporary Korea Uri Kaplan Sungkyun Journal of East Asian Studies, Volume 18, Number 1, April 2018, pp. 59-84 (Article) Published by Duke University Press For additional information about this article https://muse.jhu.edu/article/694920 [ Access provided at 26 Sep 2021 11:58 GMT with no institutional affiliation ] Sungkyun Journal of East Asian Studies Vol.18 No.1 © 2018 Academy of East Asian Studies. 59-84 DOI: 10.21866/esjeas.2018.18.1.003 Rebuilding the “Eastern Country of Ritual Propriety”: Decorum Camps, So˘wo˘n Stays, and the Confucian Revival in Contemporary Korea Uri KAPLAN Frieberg Center for East Asian Studies, Hebrew University of Jerusalem ABSTRACT Amidst the widespread recent academic interest in the Confucian revival in contemporary China, it is easy to miss comparable developments taking place in neighboring South Korea. Through an analysis of official documentation and multi-sited ethnographic fieldwork, this paper aims to introduce the current revitalization of ancient Confucian schools and rites, and the boom in children’s decorum camps and other Confucian-related educational programs on the Korean peninsula. Examining some of the schedules and curriculums, the textbooks studied, modernized rituals, and the agendas of the Ministry of Culture, the Confucian Association, and the New Religious Movement that lead the reforms, I deliberate upon possible reasons for this trend taking place at this particular time, contemplate the attempts to rebrand Confucianism as culture for better marketing, and point out some of the curious tensions and ironies this resurgence entails. -
Quantitative Analysis of Phonological Variation in Korean Hip-Hop English Lyrics
IDENTITIES AND LYRICS: QUANTITATIVE ANALYSIS OF PHONOLOGICAL VARIATION IN KOREAN HIP-HOP ENGLISH LYRICS A Thesis Submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Masters of Science in Linguistics By Jinsok Lee, B.A. Washington, D.C. April, 2009 Copyright 2009 by Jinsok Lee All Rights Reserved ii IDENTITIES AND LYRICS: QUANTITATIVE ANALYSIS OF PHONOLOGICAL VARIATION IN KOREAN HIP-HOP ENGLISH LYRICS Jinsok Lee, B.A. Thesis Advisor: Natalie Schilling, Ph.D. ABSTRACT This paper extends the sociolinguistic investigation of Hip-Hop language and its performative usage more generally by examining English in the lyrics of three Korean Hip-Hop groups: Dynamic Duo, Epik High, and Drunken Tiger. This paper examines overall occurrence of English as well as the extent to which their English incorporates features associated with African American Vernacular English (AAVE). Alim (2002) argues that American Hip-Hop artists connect their lyrics to street culture by using features of AAVE such as copula absence however, in this study of Korean Hip-Hop lyrics, instead of focusing on syntactic features, phonological features are to be studied mainly. The use of English in Korean Hip-Hop songs varies from lexical items (e.g. Nwun tteponi yesterday swucwupten kuttay. From the song “paykya” from the album “Remapping the Human Soul” by Epik High 2006) to a sentences (When My body turns cold, you will know, I remapped the human soul. From the song “paykya” from the album “Remapping the Human Soul” by Epik High 2006), and sometimes, but not for all the artists, a whole paragraph. -
ANIME OP/ED (TV-Versio) Japahari Net - Retsu No Matataki Maximum the Hormone - ROLLING 1000 Toon
Air Master ANIME OP/ED (TV-versio) Japahari Net - Retsu no matataki Maximum the Hormone - ROLLING 1000 tOON 07 Ghost Ajin Yuki Suzuki - Aka no Kakera flumpool - Yoru wa Nemureru kai? Mamoru Miyano - How Close You Are 91 Days Angela x Fripside - Boku wa Boku de atte ELISA - Rain or Shine TK from Ling Tosite Sigure - Signal Amanchu Maaya Sakamoto - Million Clouds 11eyes Asriel - Sequentia Ange Vierge Ayane - Arrival of Tears Konomi Suzuki - Love is MY RAIL 3-gatsu no Lion Angel Beats BUMP OF CHICKEN - Answer Aoi Tada - Brave Song .dot-Hack Lisa - My Soul Your Beats See-Saw - Yasashii Yoake Girls Dead Monster - My Song Bump of chicken - Fighter Angelic Layer .hack//g.u Atsuko Enomoto - Be my Angel Ali Project - God Diva HAL - The Starry sky .hack//Liminality Anime-gataris See-Saw - Tasogare no Umi GARNiDELiA - Aikotoba .hack//Roots Akagami no Shirayuki hime Boukoku Kakusei Catharsis Saori Hayami - Yasashii Kibou eyelis - Kizuna ni nosete Abenobashi Mahou Shoutengai Megumi Hayashibara - Anata no kokoro ni Akagami no Shirayuki hime 2nd season Saori Hayami - Sono Koe ga Chizu ni Naru Absolute Duo eyelis - Page ~Kimi to Tsuzuru Monogatari~ Nozomi Yamamoto & Haruka Yamazaki - Apple Tea no Aji Akagi Maximum the Hormone - Akagi Accel World May'n - Chase the World Akame ga Kill Sachika Misawa - Unite. Miku Sawai - Konna Sekai, Shiritakunakatta Altima - Burst the gravity Rika Mayama - Liar Mask Kotoko - →unfinished→ Sora Amamiya - Skyreach Active Raid Akatsuki no Yona AKINO with bless4 - Golden Life Shikata Akiko - Akatsuki Cyntia - Akatsuki no hana -
El K-Pop Y La Interacción Parasocial En España
TESIS DOCTORAL 2020 - UNIVERSIDAD DE MÁLAGA EL K-POP Y LA INTERACCIÓN PARASOCIAL EN ESPAÑA: EL FENÓMENO FAN EN INSTAGRAM JULIA RODRÍGUEZ CASTILLO DIRECTORA: ANA ALMANSA MARTÍNEZ Doctorado Interuniversitario en Comunicación de las universidades de Málaga, Cádiz, Huelva y Sevilla en la línea de Publicidad y Relaciones Públicas AUTOR: Julia Rodríguez Castillo https://orcid.org/0000-0003-4379-9820 EDITA: Publicaciones y Divulgación Científica. Universidad de Málaga Esta obra está bajo una licencia de Creative Commons Reconocimiento-NoComercial- SinObraDerivada 4.0 Internacional: http://creativecommons.org/licenses/by-nc-nd/4.0/legalcode Cualquier parte de esta obra se puede reproducir sin autorización pero con el reconocimiento y atribución de los autores. No se puede hacer uso comercial de la obra y no se puede alterar, transformar o hacer obras derivadas. Esta Tesis Doctoral está depositada en el Repositorio Institucional de la Universidad de Málaga (RIUMA): riuma.uma.es UNIVERSIDAD DE MÁLAGA, ESPAÑA Facultad de Ciencias de la Comunicación 2017-2020 Tesis Doctoral EL K-POP Y LA INTERACCIÓN PARASOCIAL EN ESPAÑA: EL FENÓMENO FAN EN INSTAGRAM Programa de Doctorado: Doctorado Interuniversitario en Comunicación de las universidades de Málaga, Cádiz, Huelva y Sevilla en la línea de Publicidad y Relaciones Públicas DOCTORANDA: JULIA RODRÍGUEZ CASTILLO DIRECTORA: ANA ALMANSA MARTÍNEZ Dra. Dña. Ana Almansa Martínez, Profesora Titular de Universidad, adscrita al Departamento de Comunicación Audiovisual y Publicidad, de la Universidad de Málaga, como tutora y directora de esta tesis doctoral, realizada por Dña. Julia Rodríguez Castillo, INFORMA QUE: Una vez finalizada la investigación y conforme a la normativa vigente, AUTORIZA la presentación y defensa de la tesis, por considerar que reúne los requisitos formales, científicos y de originalidad necesarios para ser defendida ante el Tribunal constituido al efecto, para la obtención del Grado de Doctor. -
CJ ENM Bloomberg: 035760 KS, Reuters: 035760.KS
Regional Company Focus CJ ENM Bloomberg: 035760 KS, Reuters: 035760.KS Refer to important disclosures at the end of this report DBS Group Research . Equity 9 Nov 2018 BUY, KRW219,000 KOSDAQ: 693.7 Strength in content business (Closing price as of 08/11/18) underpins earnings Price Target 12-mth: KRW300,000 • If not for IPTV commission hike, 3Q18 earnings would Reason for Report: 3Q18 earnings review have been a positive surprise Potential catalyst: Synergies between its digital channels and • To continue outperforming the market in terms of TV ad commerce business revenue growth Where we differ: We are more optimistic than the market for FY18F, but more conservative for FY19/20F • Commerce margins to recover in near term Analyst • Retain BUY, keep our TP of KRW300,000 Regional Research Team [email protected] Media: Stronger than expected TV and digital ad revenue. CJ ENM’s media division posted its highest-ever quarterly OP of KRW37.2bn (+305% y-o-y) in 3Q18. With the airing of premium content such as Price Relative ‘Boyfriend’ and ‘Memories of the Alhambra’ and several other 350,000 130 popular shows in 4Q18, CJ ENM’s TV ad revenue outperformance 300,000 120 250,000 110 and digital ad revenue growth should persist. Sales to Chinese and 100 200,000 global over-the-top (OTT) service providers also seem likely. 90 150,000 80 Commerce: Temporary dent to margins. Gross merchandise sales 100,000 70 50,000 60 were solid at KRW935.9bn (+5% y-o-y) with KRW80.2bn from T 0 50 commerce (+36% y-o-y) and KRW267.5bn from mobile commerce Nov-14 Jun-15 Jan-16 Aug-16 Mar-17 Oct-17 May-18 Stock price(LHS,KRW) Rel. -
Korean Hip-‐Hop
School of Oriental and African Studies University of London SOAS-AKS Working Papers in Korean Studies No. 36 After Two Decades: Korean Hip-hop and ‘Cultural Reterritorialization’ Hae-kyung Um http://www.soas.ac.uk/japankorea/research/soas-aks-papers/ After Two Decades: Korean Hip-hop and ‘Cultural Reterritorialization’ Hae-kyung Um (University of Liverpool) © 2012 Marking the 20th anniversary of Seo Taeji and Boys’ first album, Nan Arayo (I Know), released on 23 March 1992, several Korean newspapers and online blogs have recently published feature articles about this first successful Korean hip-hop group. The headline in the Yonhap News suggested that their music was a ‘Cultural Revolution’ that has had a lasting impact on Korean youth culture, popular music and the society as a whole. How do we take this proposition further to understand the development of Korean hip-hop as a localized artistic practice of this global music genre? What does its trajectory tell us about the relationships between Korean local, Asian regional and global music making and the media with respect to its production, distribution and consumption? By looking at some of the recent Korean hip-hop outputs and their associated contexts, this paper will explore the ways in which Korean hip-hop has gained its local specificities by way of combining and recontextualizing Afro-American and Korean popular musical elements and aesthetics in its performance and identification. Particular attention will be paid to the use and choice of languages and their poetic expressions all of which afford communicability between the rappers and their audiences. The relevance of ‘cultural reterritorialization’ in the context of the consumption and commodification of Korean hip-hop, along with mainstream Korean popular music (known as K-pop), as a localised cultural product will also be discussed. -
Senior List PEWAMO-WESTPHALIA-School Of Finalist in the Michigan Competitive Is Thinking of Furthering Her Business Edu Scholarship Program
ST. JOHNS—The Clinton County Board percent); Essex Township, 3,702,753 (2.3171 116th Year, No. 1 ST. JOHNS, MICHIGAN WEDNESDAY, MAY 5, 1971 28F&GES of Commissioners Tuesday approved a percent); Greenbush Township, 5,028,705. 15 CENTS $ 5 million hike in the county's total equalized (3.1468 percent)jLebanon Towinship, 2,408,- valuation, during a regular board session. 100 (1.5069 percent). The new equalized valuation for 1971 Olive Township, 6,259,900 (3.9173 per will stand at $159,802,009, a jump of cent); Ovid Township, 9,701,518 (6.0710 almost $5 million from last year's mark percent); Riley Township, 4,354,700(2.7251 of $154,857,162. It was also about $3.5 percent); Victor Township, 4,971,994 million higher than the total assessment (3,1113 percent); Watertown Township, of board of review which set the valuation 14,345,436 (8.9770 percent); Westphalia, at $156,295,058. 5,810,000 (3.6357 percent); DeWitt City In releasing the figures, signed by the 5.271.600 (3.2988 percent); St. Johns City, county equalization committee of Gerald 25,526,182 (15.9736 percent); Lansing City, L ankf ord, Duane Chamberlain, Walter Nobis DEW1TT-A resolution to hold a June 100 (.0001 percent); total units, 159,802,009 Community College Board of Trustees and and Andrew Cobb, the board divided the (100.00 percent). election for the renewal of an 8.5 school approval of an increase in the mlllage of valuation into two segments including real mlllage was passed by the DeWitt School LCC from one to two mills. -
Appendix: Biographical Information of Artists Interviewed for the Project
APPENDIX: BIOGRAPHICAL INFORMATION OF ARTISTS INTERVIEWED FOR THE PROJECT © The Editor(s) (if applicable) and The Author(s), 175 under exclusive license to Springer Nature Switzerland AG 2019 M.-S. Song, Hanguk Hip Hop, East Asian Popular Culture, https://doi.org/10.1007/978-3-030-15697-8 176 Artist Gender Year of Place of birth Experience Introduction to Introduction to hip hop Year of birth of living hip hop (Year) (Song / Album / Artist) debut abroad … APPENDIX: BIOGRAPHICALINFORMATION Basick M 1986 Daegu Y 1992– Seo Taiji and Boys, Deux / All Eyez on 2007 1993 / 2000 Me by Tupac, The Marshall Mathers LP by Eminem Beenzino M 1987 Seoul Y 1995 2008 BewhY M 1993 Daejeon N 2009 Dynamic Duo, Verbal Jint 2012 Bizzy M 1980 New Zealand Y 2002 Boobagraphy M 1986 Busan Y Late teenage Cypress Hill, Wu-Tang Clan, Tupac 2007 years Born Kim M 1981 Seoul N 1997 Tupac, The Notorious B.I.G., 2001 NWA Chaboom M 1985 Ansan Y 1998 “I’ll Be Missing You” by Puff 2006 Daddy, Wu-Tang Clan, Mobb Deep Changmo M 1994 Gangwon-do 2006 “Hip Hop Music” by Joosuc, 2009 Jeongseon Tupac, T.I. Gohan-eup Choiza M 1980 Seoul N Sixth grade Naughty By Nature, MC Hammer, 1999 Marky Mark and the Funky Bunch Code Kunst M 1989 Incheon Y Ninth grade “Doo Rags” by Nas 2012 Crucial Star M 1989 Seoul N 2005 Dynamic Duo, The Quiett 2008 Deegie M 1981 Seoul Y 1992 / 1995 Seo Taiji and Boys, Deux / Cypress 1998 Hill Deepfow M 1984 Seoul N 1998 Cho PD, Drunken Tiger 2002 DJ Son M 1980 Busan Y 1992 Seo Taiji and Boys, Hyun Jinyoung, 2000 Deux DJ Soulscape M 1979 Korea Y 1988 Licensed