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Notes Toward an Archaeology of Hallyu
Volume 15 | Issue 14 | Number 4 | Article ID 5056 | Jul 15, 2017 The Asia-Pacific Journal | Japan Focus Notes Toward an Archaeology of Hallyu Mark Morris Abstract The first consciousness that a new Korean cultural wave –hallyu-- was in motion began to take shape in different forms and at different times in the rest of East Asia. It was the craze for Korean TV drama that represented a sudden apparition of something new from South Korea. Before long, however, this wave grew bigger and far more complex than anyone might have predicted, including Korean pop music and films, animation, online games, smartphones, fashion, cosmetics, etc. There have been resistances to this inundation notably in Japan, a country where several earlier mini-hallyu now seem long forgotten. Keywords Hallyu, tv drama, Korean pop, manga, film I want our nation to be the most beautiful in the world. By this I do not mean the most powerful nation. The only thing that I desire Kim Ku, 1876–1949 in infinite quantity is the power of a noble culture. This is because the power of culture both makes us happy and gives happiness to Kim Ku (1876-1949), in this rightly famous call others. to culture published not too long before his violent death, went on to articulate a vision of a Kim Ku, Baekbeom ilji (1947) Korea in which Koreans would not only be free for the first time in a long while to be Korean, Introduction but would as well project their culture out into the world. As he put it: ‘I wish our country to be not one that imitates others, but rather the source, goal, and model of this new and advanced culture. -
Entertaining Politics: Exploring Historical Transformation of Production, Distribution, and Consumption of Political Entertainment in Korea
The Pennsylvania State University The Graduate School College of Communications ENTERTAINING POLITICS: EXPLORING HISTORICAL TRANSFORMATION OF PRODUCTION, DISTRIBUTION, AND CONSUMPTION OF POLITICAL ENTERTAINMENT IN KOREA A Dissertation in Mass Communications by Kyung Han You © 2014 Kyung Han You Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December 2014 The dissertation of Kyung Han You was reviewed and approved* by the following: Ronald V. Bettig Associate Professor of Media Studies Dissertation Advisor Chair of Committee Patrick R. Parsons Don Davis Professor of Ethics, Telecommunications Michelle Rodino-Colocino Associate Professor of Media Studies Marylee Taylor, Associate Professor of Sociology Department of Sociology Ford Risley Professor of Journalism Interim Associate Dean for Undergraduate and Graduate Education *Signatures are on file in the Graduate School ABSTRACT Observing the paucity of research on political entertainment in Korea, this study has explored the historical transformation in Korean political entertainment through the lens of changing social and economic conditions, as well as shifts in power relations, over the past several decades. The study has taken two broad and interrelated research questions as its starting points: “How are political, economic, and social forms of power associated with the production, distribution, and consumption of political entertainment?” and “How has the production and dissemination of such programs changed over the past half-century and in what specific contexts?” This approach has allowed particular attention to the role of political institutions in regulating media industries; the origin of Korean political entertainment and its distinctive features; the factors and conditions influencing the transformation in formats and genres of political entertainment; and the effects of technological shifts on political entertainment. -
Influence of Korean TV Drama Series in Tanzania
저작자표시-비영리-변경금지 2.0 대한민국 이용자는 아래의 조건을 따르는 경우에 한하여 자유롭게 l 이 저작물을 복제, 배포, 전송, 전시, 공연 및 방송할 수 있습니다. 다음과 같은 조건을 따라야 합니다: 저작자표시. 귀하는 원저작자를 표시하여야 합니다. 비영리. 귀하는 이 저작물을 영리 목적으로 이용할 수 없습니다. 변경금지. 귀하는 이 저작물을 개작, 변형 또는 가공할 수 없습니다. l 귀하는, 이 저작물의 재이용이나 배포의 경우, 이 저작물에 적용된 이용허락조건 을 명확하게 나타내어야 합니다. l 저작권자로부터 별도의 허가를 받으면 이러한 조건들은 적용되지 않습니다. 저작권법에 따른 이용자의 권리는 위의 내용에 의하여 영향을 받지 않습니다. 이것은 이용허락규약(Legal Code)을 이해하기 쉽게 요약한 것입니다. Disclaimer Master’s Degree in International Studies (International Area Studies) The Concepts of Cultural Diplomacy and Korean Wave: Influence of Korean TV Drama Series in Tanzania August, 2015 Program in International Development Policy Graduate School of International Studies Seoul National University Pamela Elipokea Pallangyo THESIS ACCEPTANCE CERTIFICATE The undersigned, appointed by: The Graduate School of International Studies Seoul National University Have examined a thesis entitled The Concepts of Cultural Diplomacy and Korean Wave: Influence of Korean TV Drama Series in Tanzania Presented by Pamela Elipokea Pallangyo Candidate for the Degree of Master in International Studies(International Area Studies) and hereby certify that it is worthy of acceptance Signature ________________ Committee Chair Han, Young-Hae Signature ________________ Committee Vice-Chair Sheen, Seong-Ho Signature ________________ Thesis Advisor Eun, Ki-Soo Date: June, 2015 ABSTRACT Over the past decade, Korean popular culture has spread throughout Asian countries and other parts of the World including Africa and particularly Tanzania. This huge Wave of Korean is famously known as Hallyu describe the rising popularity of Korean Culture which includes Popular Music (K-Pop), Dramas (K-Drama), Language and Cuisine. -
Glocalization of the Korean Popular Culture in East Asia
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE GLOCALIZATION OF THE KOREAN POPULAR CULTURE IN EAST ASIA: THEORIZING THE KOREAN WAVE A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY By Hyejung Ju Norman, Oklahoma 2010 GLOCALIZATION OF THE KOREAN POPULAR CULTURE IN EAST ASIA: THEORIZING THE KOREAN WAVE A DISSERTATION APPROVED FOR THE DEPARTMENT OF COMMUNICATION BY Dr. Eric M. Kramer, Chair Dr. Glenn J. Hansen Dr. Patrick C. Meirick Dr. Namkee Park Dr. Todd Sandel © Copyright by Hyejung Ju 2010 All Rights Reserved. Acknowledgements I would like to thank the Asia Research Fund for partially funding the research in Japan which this dissertation is based. I have greatly appreciated all participants for the interview. I received kind hospitality from Japanese participants in Tokyo and great support from those Korean participants in Seoul. I would like to express my gratitude to Dr. Eric Kramer, my mentor, who leads me to find the honor of scholarship. His insightful and honest criticism to my academic life in Norman motivates me to do better and his encouragement keeps me moving forward. I would like to thank all my committee, Dr. Glenn Hansen, Dr. Patrick Meirick, Dr. Namkee Park, and Dr. Todd Sandel. They are wonderful teachers and colleagues, and inspire me to grow. Also, I would like my gratitude to Dr. Elaine Hsieh, who pushes and hugs me the most. She shows how hard the academic life is, but proves how greatly worth it would be. I would love to express thanks to my friends, Haiying, Satoko, Takuya, and Phill. -
ABSTRACT Title of Dissertation
ABSTRACT Title of Dissertation: VOICING THE UNHEARD: GENDERED PRACTICES, DISCOURSES, AND STRUGGLES OF GUGAK MUSICIANS IN SOUTH KOREA Hyunjin Yeo, Doctor of Philosophy, 2018 Dissertation directed by: Professor J. Lawrence Witzleben, School of Music (Ethnomusicology) This dissertation investigates how individual musicians’ experiences and gender identity are shaped by interacting with cultural ideals of gender roles in different levels of South Korean society and the ways in which they interact with gendered performances of music. In the last few years, gender has been a popular topic not only in academia but also in everyday conversations in South Korea. Traditional gender norms have been challenged, and various types of masculinities and femininities have emerged. As different ideas of gender roles coexist in society, gugak (literally “national music”) musicians, too, face challenges in the middle of social transition. This study aims to deliver the often unheard voices of two groups of musicians: male gayageum (Korean zither) players playing a “women’s instrument” and female fusion gugak musicians playing “cheap” music. Based on in-depth interviews and my eighteen years’ involvement in the gugak field, I examine how both groups of musicians negotiate conflicts as they face contrasting gender norms and values between the gugak community and South Korean society at large. In this process, their performance becomes the prime site where their ideas of masculinity and femininity are put on display. By playing particular instruments and styles of music, defying negative discourses on them, and demonstrating their competence, I argue that performances and narratives of the musicians ultimately complicate the hegemonic views of masculinity and femininity.