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Duckduckgo Search Engines Android
Duckduckgo search engines android Continue 1 5.65.0 10.8MB DuckduckGo Privacy Browser 1 5.64.0 10.8MB DuckduckGo Privacy Browser 1 5.63.1 10.78MB DuckduckGo Privacy Browser 1 5.62.0 10.36MB DuckduckGo Privacy Browser 1 5.61.2 10.36MB DuckduckGo Privacy Browser 1 5.60.0 10.35MB DuckduckGo Privacy Browser 1 5.59.1 10.35MB DuckduckGo Privacy Browser 1 5.58.1 10.33MB DuckduckGo Privacy Browser 1 5.57.1 10.31MB DuckduckGo Privacy browser © DuckduckGo. Privacy, simplified. This article is about the search engine. For children's play, see duck, duck, goose. Internet search engine DuckDuckGoScreenshot home page DuckDuckGo on 2018Type search engine siteWeb Unavailable inMultilingualHeadquarters20 Paoli PikePaoli, Pennsylvania, USA Area servedWorldwideOwnerDuck Duck Go, Inc., createdGabriel WeinbergURLduckduckgo.comAlexa rank 158 (October 2020 update) CommercialRegregedSeptember 25, 2008; 12 years ago (2008-09-25) was an Internet search engine that emphasized the privacy of search engines and avoided the filter bubble of personalized search results. DuckDuckGo differs from other search engines by not profiling its users and showing all users the same search results for this search term. The company is based in Paoli, Pennsylvania, in Greater Philadelphia and has 111 employees since October 2020. The name of the company is a reference to the children's game duck, duck, goose. The results of the DuckDuckGo Survey are a compilation of more than 400 sources, including Yahoo! Search BOSS, Wolfram Alpha, Bing, Yandex, own web scanner (DuckDuckBot) and others. It also uses data from crowdsourcing sites, including Wikipedia, to fill in the knowledge panel boxes to the right of the results. -
How Law Made Silicon Valley
Emory Law Journal Volume 63 Issue 3 2014 How Law Made Silicon Valley Anupam Chander Follow this and additional works at: https://scholarlycommons.law.emory.edu/elj Recommended Citation Anupam Chander, How Law Made Silicon Valley, 63 Emory L. J. 639 (2014). Available at: https://scholarlycommons.law.emory.edu/elj/vol63/iss3/3 This Article is brought to you for free and open access by the Journals at Emory Law Scholarly Commons. It has been accepted for inclusion in Emory Law Journal by an authorized editor of Emory Law Scholarly Commons. For more information, please contact [email protected]. CHANDER GALLEYSPROOFS2 2/17/2014 9:02 AM HOW LAW MADE SILICON VALLEY Anupam Chander* ABSTRACT Explanations for the success of Silicon Valley focus on the confluence of capital and education. In this Article, I put forward a new explanation, one that better elucidates the rise of Silicon Valley as a global trader. Just as nineteenth-century American judges altered the common law in order to subsidize industrial development, American judges and legislators altered the law at the turn of the Millennium to promote the development of Internet enterprise. Europe and Asia, by contrast, imposed strict intermediary liability regimes, inflexible intellectual property rules, and strong privacy constraints, impeding local Internet entrepreneurs. This study challenges the conventional wisdom that holds that strong intellectual property rights undergird innovation. While American law favored both commerce and speech enabled by this new medium, European and Asian jurisdictions attended more to the risks to intellectual property rights holders and, to a lesser extent, ordinary individuals. -
The Korean Wave in the Middle East: Past and Present
Article The Korean Wave in the Middle East: Past and Present Mohamed Elaskary Department of Arabic Interpretation, Hankuk University of Foreign Studies, Seoul 17035, South Korea; [email protected]; Tel. +821054312809 Received: 01 October 2018; Accepted: 22 October 2018; Published: 25 October 2018 Abstract: The Korean Wave—otherwise known as Hallyu or Neo-Hallyu—has a particularly strong influence on the Middle East but scholarly attention has not reflected this occurrence. In this article I provide a brief history of Hallyu, noting its mix of cultural and economic characteristics, and then analyse the reception of the phenomenon in the Arab Middle East by considering fan activity on social media platforms. I then conclude by discussing the cultural, political and economic benefits of Hallyu to Korea and indeed the wider world. For the sake of convenience, I will be using the term Hallyu (or Neo-Hallyu) rather than the Korean Wave throughout my paper. Keywords: Hallyu; Korean Wave; K-drama; K-pop; media; Middle East; “Gangnam Style”; Psy; Turkish drama 1. Introduction My first encounter with Korean culture was in 2010 when I was invited to present a paper at a conference on the Korean Wave that was held in Seoul in October 2010. In that presentation, I highlighted that Korean drama had been well received in the Arab world because most Korean drama themes (social, historical and familial) appeal to Arab viewers. In addition, the lack of nudity in these dramas as opposed to that of Western dramas made them more appealing to Arab viewers. The number of research papers and books focused on Hallyu at that time was minimal. -
The Otaku Phenomenon : Pop Culture, Fandom, and Religiosity in Contemporary Japan
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2017 The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan. Kendra Nicole Sheehan University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Comparative Methodologies and Theories Commons, Japanese Studies Commons, and the Other Religion Commons Recommended Citation Sheehan, Kendra Nicole, "The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan." (2017). Electronic Theses and Dissertations. Paper 2850. https://doi.org/10.18297/etd/2850 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Humanities Department of Humanities University of Louisville Louisville, Kentucky December 2017 Copyright 2017 by Kendra Nicole Sheehan All rights reserved THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Approved on November 17, 2017 by the following Dissertation Committee: __________________________________ Dr. -
Negus, Keith and Shin, Hyunjoon. 2021
Negus, Keith and Shin, Hyunjoon. 2021. Eurasian entanglements: notes towards a planetary perspective of popular music histories. Popular Music, 40(1), 158 -164. ISSN 0261-1430 [Article] https://research.gold.ac.uk/id/eprint/29986/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] Eurasian entanglements: notes towards a planetary perspective of popular music histories Popular Music Vol 40 No 1, 2021. KEITH NEGUS and HYUNJOON SHIN Popular Music Research Unit, Goldsmiths, University of London Email: [email protected] Faculty of Social Sciences / Institute for East Asian Studies, Sungkonghoe University, Seoul. Email: [email protected] In recent years, music scholars have argued for a shift towards writing and researching world history, in line with other planetary impulses that invite a more inclusive, de-centred, and less parochial view of cultural life (Stokes, 2018). In this brief intervention we will sketch some ideas that might contribute to one such shift by evoking a narrative of Eurasia and the entanglements of Europe and East Asia. The term Eurasia has been used in various ways, and the approach we advocate here draws on the many insightful studies of Chris Hann (2014, 2016). -
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. -
Find PDF # South Korean Television Drama
LCFONI58EGNH # Book # South Korean television drama South Korean television drama Filesize: 7.08 MB Reviews I actually started reading this article ebook. I actually have read and i also am certain that i will likely to go through once again again in the future. You are going to like just how the article writer compose this ebook. (Mariane Kerluke) DISCLAIMER | DMCA N37PIG9QSLDB ^ Book ~ South Korean television drama SOUTH KOREAN TELEVISION DRAMA Reference Series Books LLC Dez 2011, 2011. Taschenbuch. Book Condition: Neu. 245x187x7 mm. This item is printed on demand - Print on Demand Neuware - Source: Wikipedia. Pages: 139. Chapters: Salut D'Amour, Spring Waltz, Dae Jo Yeong, Boys Over Flowers, Korean drama, Yi San, What's Up Fox, Princess Hours, Mom's Dead Upset, Likeable or Not, Papa, Hur Jun, The Phoenix, My Lovely Sam Soon, List of La Dolce Vita episodes, Delightful Girl Choon-Hyang, King of Baking, Kim Takgu, Emperor of the Sea, I'm Sorry, I Love You, Love Truly, Endless Love soundtracks, Prosecutor Princess, We are Dating Now, Time Between Dog and Wolf, A Good Day For The Wind To Blow, A Love to Kill, Daughters-in-Law, City of Glass, Brilliant Legacy, The King of Legend, Wife Returns, Super Junior Mini-Drama, Gourmet, Autumn in My Heart, The World That They Live In, Winter Sonata, Mystery 6, Family's Honor, The Last Scandal of My Life, Dal-Ja's Spring, DramaFever, Beethoven Virus, Golden Bride, Summer Scent, Wonderful Life, Queen Seondeok, Rooop Room Cat, Which Star Are You From, Sang Doo! Let's Go to School, The Snow Queen, Magic -
Billboard-1997-08-30
$6.95 (CAN.), £4.95 (U.K.), Y2,500 (JAPAN) $5.95 (U.S.), IN MUSIC NEWS BBXHCCVR *****xX 3 -DIGIT 908 ;90807GEE374EM0021 BLBD 595 001 032898 2 126 1212 MONTY GREENLY 3740 ELM AVE APT A LONG BEACH CA 90807 Hall & Oates Return With New Push Records Set PAGE 1 2 THE INTERNATIONAL NEWSWEEKLY OF MUSIC, VIDEO AND HOME ENTERTAINMENT AUGUST 30, 1997 ADVERTISEMENTS 4th -Qtr. Prospects Bright, WMG Assesses Its Future Though Challenges Remain Despite Setbacks, Daly Sees Turnaround BY CRAIG ROSEN be an up year, and I think we are on Retail, Labels Hopeful Indies See Better Sales, the right roll," he says. LOS ANGELES -Warner Music That sense of guarded optimism About New Releases But Returns Still High Group (WMG) co- chairman Bob Daly was reflected at the annual WEA NOT YOUR BY DON JEFFREY BY CHRIS MORRIS looks at 1997 as a transitional year for marketing managers meeting in late and DOUG REECE the company, July. When WEA TYPICAL LOS ANGELES -The consensus which has endured chairman /CEO NEW YORK- Record labels and among independent labels and distribu- a spate of negative m David Mount retailers are looking forward to this tors is that the worst is over as they look press in the last addressed atten- OPEN AND year's all- important fourth quarter forward to a good holiday season. But few years. Despite WARNER MUSI C GROUP INC. dees, the mood with reactions rang- some express con- a disappointing was not one of SHUT CASE. ing from excited to NEWS ANALYSIS cern about contin- second quarter that saw Warner panic or defeat, but clear -eyed vision cautiously opti- ued high returns Music's earnings drop 24% from last mixed with some frustration. -
The Korean Wave As a Localizing Process: Nation As a Global Actor in Cultural Production
THE KOREAN WAVE AS A LOCALIZING PROCESS: NATION AS A GLOBAL ACTOR IN CULTURAL PRODUCTION A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Ju Oak Kim May 2016 Examining Committee Members: Fabienne Darling-Wolf, Advisory Chair, Department of Journalism Nancy Morris, Professor, Department of Media Studies and Production Patrick Murphy, Associate Professor, Department of Media Studies and Production Dal Yong Jin, Associate Professor, School of Communication, Simon Fraser University © Copyright 2016 by Ju Oak Kim All Rights Reserved ii ABSTRACT This dissertation research examines the Korean Wave phenomenon as a social practice of globalization, in which state actors have promoted the transnational expansion of Korean popular culture through creating trans-local hybridization in popular content and intra-regional connections in the production system. This research focused on how three agencies – the government, public broadcasting, and the culture industry – have negotiated their relationships in the process of globalization, and how the power dynamics of these three production sectors have been influenced by Korean society’s politics, economy, geography, and culture. The importance of the national media system was identified in the (re)production of the Korean Wave phenomenon by examining how public broadcasting-centered media ecology has control over the development of the popular music culture within Korean society. The Korean Broadcasting System (KBS)’s weekly show, Music Bank, was the subject of analysis regarding changes in the culture of media production in the phase of globalization. In-depth interviews with media professionals and consumers who became involved in the show production were conducted in order to grasp the patterns that Korean television has generated in the global expansion of local cultural practices. -
The Effect of Hedonic Motivation and Consumer Attitudes Towards Purchase Decision on K-Pop CD Albums (Study on KPOPSURABAYA Community)
The Effect of Hedonic Motivation and Consumer Attitudes Towards Purchase Decision on K-Pop CD Albums (Study on KPOPSURABAYA Community) Devita Anggraini Lestari1, Monika Tiarawati2 State University of Surabaya [email protected], [email protected] Abstract: The rapid enthusiasm of Korean pop music or K-Pop is very high among the millennial generation. The mushrooming of online music streaming like Joox, Spotify, Apple music has made the CD album sales threatened. However, K-Pop fans apparently are still enthusiastic about buying a CD album even though the price is quite expensive. This study discusses the hedomic motivations and consumers attitudes towards purchasing decisions. This type of research used in this study is a combination of purposive sampling techniques. Data collection is done by using an online questionnaire using Google forms. The statistical analysis used in this study uses SPSS and data analysis techniques in this study use the classic assumption test, multiple linear regression analysis, and hypothesis testing. It can be explained that the results of the analysis show that hedonic motivations and consumer attitudes has significant influential on purchasing decisions. Keywords: Consumer Attitudes, Hedonic Motivation, Purchase Decision INTRODUCTION The mushrooming of boyband’s or girlband’s concert tours in Indonesia shows that how much Korean music is more interested in this country compared to other countries' musicians marked by a Super Junior concert titled Super Show 4 on April 2012 in Indonesia that makes Indonesian music fans love them. Indonesia became a stop on their concert tour, such as BIGBANG, 2NE1, 2PM, to BTS. According to Franki Raden (2014) in (Zaini, 2017), the development of K-pop due to the availability of infrastructure and mechanisms, Korea has succeeded in instilling awareness of the importance of music in people's daily lives. -
Understanding Korean Society Through Popular Music
Situations Vol. 5 (Winter 2011) © 2011 by Yonsei University Hannah N. Bergen (Yonsei University, Seoul) Understanding Korean Society through Popular Music Today one of the most unique aspects of inter-Asian cultural sharing is the hallyu wave. This social phenomenon began in Seoul, South Korea and today accounts for the all pervasive nature of Korean popular entertainment dominating the airwaves of nearly every Asian country. From Japan to Thailand, “K-pop” has conquered the Asian market, and is now turning its attention to the rest of the world. In order to illustrate this current social phenomenon, I have found many sources that all point to the same aspects in K-pop which have allowed one small country to make their entertainment business one of its most lucrative exports. The hallyu wave as a whole has become a blending of uniquely Korean culture with aspects of Western and other Asian cultures which has created a style unique to this particular moment of history. In the words of Sun Jung, author of the article “Korean Masculinities and Transcultural Consumption: Yonsama, Rain, Oldboy, K-Pop Idols,” “Transcultural hybridity is one of the most significant aspects of contemporary South Korean popular culture in the postmodern era and is the main driving force behind its overseas popularity” (Jung 166). This combination has allowed the music and film from Korea to be extremely accessible to a wide audience of various nationalities and languages. In order to clearly illustrate the international success of hallyu, I will focus on one specific aspect of current Korean popular culture: music. -
Agency in the Afrofuturist Ontologies of Erykah Badu and Janelle Monáe
Open Cultural Studies 2018; 2: 330–340 Research Article Nathalie Aghoro* Agency in the Afrofuturist Ontologies of Erykah Badu and Janelle Monáe https://doi.org/10.1515/culture-2018-0030 Received May 21, 2018; accepted September 26, 2018 Abstract: This article discusses the visual, textual, and musical aesthetics of selected concept albums (Vinyl/CD) by Afrofuturist musicians Erykah Badu and Janelle Monaé. It explores how the artists design alternate projections of world/subject relations through the development of artistic personas with speculative background narratives and the fictional emplacement of their music within alternate cultural imaginaries. It seeks to establish that both Erykah Badu and Janelle Monáe use the concept album as a platform to constitute their Afrofuturist artistic personas as fluid black female agents who are continuously in the process of becoming, evolving, and changing. They reinscribe instances of othering and exclusion by associating these with science fiction tropes of extraterrestrial, alien lives to express topical sociocultural criticism and promote social change in the context of contemporary U.S. American politics and black diasporic experience. Keywords: conceptual art, Afrofuturism, gender performance, black music, artistic persona We come in peace, but we mean business. (Janelle Monáe) In her Time’s up speech at the Grammys in January 2018, singer, songwriter, and actress Janelle Monáe sends out an assertive message from women to the music industry and the world in general. She repurposes the ambivalent first encounter trope “we come in peace” by turning it into a manifest for a present-day feminist movement. Merging futuristic, utopian ideas with contemporary political concerns pervades Monáe’s public appearances as much as it runs like a thread through her music.