Gotowa bibliografia na temat „Korean new wave”
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Spis treści
Zobacz listy aktualnych artykułów, książek, rozpraw, streszczeń i innych źródeł naukowych na temat „Korean new wave”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Artykuły w czasopismach na temat "Korean new wave"
1
Park, Jae Kyung. "Korean Wave Content’s diversification Strategy Model for the New Korean Wave Transition". Institute for Future Growth 4 (30.12.2018): 55–78. http://dx.doi.org/10.29143/kuifg.2018.4.1.55.
Pełny tekst źródła
2
Yecies, Brian, Ae-Gyung Shim i Ben Goldsmith. "Digital Intermediary: Korean Transnational Cinema". Media International Australia 141, nr 1 (listopad 2011): 137–45. http://dx.doi.org/10.1177/1329878x1114100116.
Pełny tekst źródłaStreszczenie:
Since censorship was lifted in Korea in 1996, collaboration between Korean and foreign filmmakers has grown in both extent and visibility. Korean films have been shot in Australia, New Zealand and mainland China, while the Korean digital post-production and visual effects firms behind blockbusters infused with local effects have gone on to work with filmmakers from greater China and Hollywood. Korean cinema has become known for its universal storylines, genre experimentation and high production values. The number of exported Korean films has increased, as has the number of Korean actors starring in films made in other countries. Korea has hosted major international industry events. These milestones have facilitated an unprecedented international expansion of the Korean film industry. With the advent of the ‘digital wave’ in Korea – the film industry's transition to digital production practices – this expansion has accelerated. Korean film agencies – the pillars of the national cinema – have played important parts in this internationalisation, particularly in promoting Korean films and filmmakers outside Korea and in facilitating international events in Korea itself. Yet, for the most part, projects involving Korean filmmakers working in partnership with filmmakers from other countries are the products of individuals and businesses working outside official channels. That is, they are often better understood as ‘transnational’ rather than ‘national’ or ‘international’ projects. In this article, we focus on a range of collaborations involving Korean, Australian, New Zealand and Chinese filmmakers and firms. These collaborations highlight some of the forces that have shaped the digital wave in the Korean film industry, and illustrate the increasingly influential role that the digital expertise of Korean filmmakers is playing in film industries, both regionally and around the world.
3
Parc, Jimmyn, i Moon Hwy-Chang. "Korean Dramas and Films: Key Factors for Their International Competitiveness". Asian Journal of Social Science 41, nr 2 (2013): 126–49. http://dx.doi.org/10.1163/15685314-12341295.
Pełny tekst źródłaStreszczenie:
Abstract The Korean wave, which is the popularity of Korean entertainment outside Korea, is a fairly new phenomenon. Encompassing Korean dramas, films, and songs, it has been highlighted by international media outlets and scholars. Several prestigious newspapers and scholars attempted to explain the competitiveness of the Korean wave, but they have remained biased by missing, overemphasizing, or overlapping important success factors. To provide a more comprehensive and accurate analysis, this paper conducts a rigorous study on the competitiveness of Korean entertainment industry focused on Korean dramas and films with a comprehensive analytical tool, the generalized double diamond model. The results of this study provide evidences that the Korean wave is not a temporary phenomenon but a sustainable industry segment. For further enhancement of this important industry, this paper suggests useful implications, including international cooperation with other countries.
4
Huang, Shuling. "Social media and the new Korean Wave". Media, Culture & Society 39, nr 5 (28.04.2017): 773–77. http://dx.doi.org/10.1177/0163443717707344.
Pełny tekst źródła
5
Jung, Jimin. "A Historical Consideration into Two Perspectives on Culture Revealed in the New Korean Wave Discourse". International Journal of Social Science and Humanity 5, nr 8 (2015): 730–34. http://dx.doi.org/10.7763/ijssh.2015.v5.548.
Pełny tekst źródła
6
Asrori, Yuni Wachid, i Supriadianto Supriadianto. "Hallyu dan Pengaruhnya pada Perkembangan Objek Wisata Tematik Korea Selatan". Jurnal Pariwisata Terapan 3, nr 1 (3.03.2019): 76. http://dx.doi.org/10.22146/jpt.49278.
Pełny tekst źródłaStreszczenie:
Korean Pop phenomenon, Hallyu, affect to the development of various tourism objects in Seoul and South Korea in general. Hallyu as a new wave is popular among young generations, not only as an entertainment, but also as tourist attraction in South Korea. This phenomenon increased number of travelers to South Korea year by year. This descriptive research analyze qualitatively several tourism objects well known as shooting site of several popular Korean dramas where travelers may experience several things related to Korean dramas. There are not only K-Pop experiences that make Korean tourism popularity increasing rapidly, but also the government rules have also been paving the important way to promote and develop Korean tourism destinations
7
Jin, Byoungho, Heesoon Yang i Naeun Kim. "Prototypical brands and cultural influences". Management Decision 57, nr 11 (12.11.2019): 3159–76. http://dx.doi.org/10.1108/md-01-2018-0057.
Pełny tekst źródłaStreszczenie:
Purpose To extend the understanding of country image to the country whose image is less distinctive, the purpose of this paper is to examine two salient factors: one country’s prototypical brand and its cultural influence (i.e. Korean Wave) on shaping the country’s image in the context of Korea and its subsequent impact on product evaluation and purchase intention. Built on the prototype and schema theories, a research framework is proposed and empirically tested on two product categories (cosmetics and tires). Design/methodology/approach Data were collected from US consumers ages 20 and older and analyzed using structural equation modeling. Findings The findings largely supported the proposed framework with two additional paths (Korean Wave to product quality and Korean Wave to purchase intention). In both product categories, the findings confirmed that the image transfers from the prototypical brands (e.g. Samsung) to the country image (i.e., Korea), from Korean Wave to country image, and from the macro country image to the micro country image. The influence of the prototypical brand image was greater than that of the Korean Wave. However, some differences were found across product categories; the positive impact of the macro image on product quality evaluation was supported only for tires, not in the case of the cosmetics. The path from the Korean Wave to product quality evaluation was significant only for the cosmetics, and not for the tires. Originality/value These findings provided new theoretical perspectives for country image studies, and practical insights for companies, especially in countries whose image is less distinctive, to help develop effective marketing strategies in different product categories.
8
Fella, Shani, i Fitri Murfianti. "Wacana Drama Korea dalam Iklan Sprite Versi “Kenyataan Gak Kayak Drama Korea”". Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 14, nr 2 (31.03.2020): 57–69. http://dx.doi.org/10.33153/dewaruci.v14i2.2705.
Pełny tekst źródłaStreszczenie:
The development of the Hallyu, or Korean Wave, has an impact on product advertising in Indonesia, which uses many actors and discourses brought from Korean culture.Starting from this it turns out that growing questions about the possibility of Korean Wave can shape new consumption interests and behaviors that have an interest in Korea. The study, entitled Korean Drama Discourse in the Sprite ad version “Kenyataan Gak Kayak Drama Korea” is an advertisement for Sprite beverage products identified using Korean drama discourse with humor at the end of the story. The research method used is descriptive qualitative research supported by a theoretical basis, namely the structure of advertising discourse to dismantle Korean drama discourse on the Sprite advertisement version “Kenyataan Gak Kayak Drama Korea” using the concept of fashion as communication and storyline and location settings to be peeled off per scene advertisement. The discourse structure of advertising in this study will be explained in three parts, namely the main items of advertising, advertising agencies and closing advertisements. The results of this study indicate that in the version of the Sprite advertisement “Kenyataan Gak Kayak Drama Korea” there is a Korean drama discourse displayed on the advertising body, which functions as an advertisement explanatory item that is a message from a Sprite advertisement that "Nyatanya Nyegerin" can be well received by prospective customers.
9
Shiau, Hong-Chi. "‘Little New Meat’ and ‘Korean Warm Men’: Performance of regional heterosexual masculinities among Taiwanese millennials". East Asian Journal of Popular Culture 6, nr 1 (1.04.2020): 45–58. http://dx.doi.org/10.1386/eapc_00014_1.
Pełny tekst źródłaStreszczenie:
Much of the academic research on the Korean Wave has focused on transcultural hybridity, with little analysis of how the Korean Wave has challenged and reshaped the site of heterosexual masculinities among millennials. Through ethnographic and focus-group interviews, this article explicates how Taiwanese masculinities have been negotiated and constructed in response to the Korean Wave, based on both Taiwan and Korea sharing a Confucian culture that emphasizes diligence and responsibility, and the popularity of refined and sophisticated men as male role models. These localized influences have compromised the ‘hegemonic masculinity’ in the West. Various contradictory attributes of Taiwanese masculinity interact with one another, but this article elicits three themes: soft/‘wen’ masculinity, a sculptured by not excessively muscular body and male-bonding. The results illustrate how the boundaries between hegemonic and marginalized forms of masculinities in Taiwan, similar to in the West, are often more interactive than oppositional. While there are contradictory attributes respond to one another, this article illuminates how a dominant form of Taiwanese masculinities prevails among the Taiwanese male millennials. Ultimately, consumerism has significantly influenced the construction of masculinity and led to diversity in masculine discourse.
10
Juknevičiūtė, Laima. "The soft power implications of the new South Korean cinema: Approaching audiences in East Asia and Lithuania". Acta Orientalia Vilnensia 12, nr 1 (1.01.2011): 121–37. http://dx.doi.org/10.15388/aov.2011.0.1100.
Pełny tekst źródłaStreszczenie:
Vytautas Magnus UniversitySouth Korea’s experience wielding soft power is usually associated with the Korean Wave, which swept the Asian region off its feet predominantly during the first decade of this century. In this article I will however argue that the phenomenon of the Korean Wave has never been intended as a calculated attempt on the part of the South Korean government to enhance the overall South Korean image worldwide and thus increase South Korean international might and prestige. To prove the validity of this hypothesis, I will provide a concise historical overview of the inception, development and spread of South Korean popular culture, while at the same time tracing its underlying soft power implications. I will likewise attempt to discuss the popular reception of the Korean Wave in three East Asian countries, i.e. Mainland China, Taiwan and Japan, and one European country, i.e. Lithuania. The scope of the endeavour has been largely restricted to the cinematic aspect of the Korean Wave, for I consider the creation of motion pictures and drama serials to be by far the most precious, influential and revealing form of art.
Rozprawy doktorskie na temat "Korean new wave"
1
Brown, James, i katsuben@internode on net. "South Korean Film Since 1986: The Domestic and Regional Formulation of East Asias Most Recent Commercial Entertainment Cinema". Flinders University. School of Humanities (Screen Studies), 2006. http://catalogue.flinders.edu.au./local/adt/public/adt-SFU20071122.143238.
Pełny tekst źródłaStreszczenie:
This thesis investigates the historically composed political and economic contexts that contributed to the late 1990s commercial renaissance of Korean national cinema and that have sustained the popularity of Korean films among local and regional audiences ever since. Unlike existing approaches to the topic, which emphasise the textual characteristics of national film production, this thesis considers relations between film production, distribution, exhibition, and ancillary markets, as well as Korean cinemas engagement with international cinemas such as Hollywood, Hong Kong, China and Japan. I argue that following the relaxation of restrictive film policy towards the importation and distribution of foreign films between 1986 and 1988, the subsequent failure of the domestic film industry to compete against international competition precipitated a remarkable shift in consensus regarding the industrys structure and functions. Due to the loss of distribution rights to foreign films and the rapid decline in ticket sales for Korean films, the continued economic viability of local film companies was under enormous threat by the early 1990s. The government reacted by permitting conglomerates to seize control of the industry and pursue vertical and horizontal integration. During the rest of the decade, Korean cinema was transformed from an art cinema to a commercial entertainment cinema. The 1997/98 economic crisis led to the exit of conglomerate finance, but streamlined film companies were able to withstand the monetary meltdown, continue the domestic revitalisation, and, since the late 1990s, build media empires based on the expansion of Korean cinema throughout the Asian region.
2
Hong, Sora. "La génération des centres culturels (Munhwawon sedae) et la nouvelle vague du cinéma sud-coréen des années 1980-1990". Thesis, Paris, EHESS, 2019. http://www.theses.fr/2019EHES0051.
Pełny tekst źródłaStreszczenie:
Depuis les années 1980, la Corée du Sud a observé un processus de légitimation culturelle du cinéma. En prenant appui sur ce phénomène, cette thèse attire l’attention sur le rôle des cinéphiles regroupés sous l’expression, « Munhwawon sedae » : la génération des centres culturels. Dans cette thèse, nous la définissons comme un réseau social de cinéphiles sud-coréens qui émerge à partir de la fréquentation des centres culturels européens à Séoul sur une période qui s’étend entre 1977 et 1984. Notre analyse de ce réseau s’appuie sur une méthode prosopographique permettant d’apprécier les rapports entre individus et institutions, et en particulier la trajectoire et les différents discours portant sur le 7e art de la Munhwawon sedae. Cette trajectoire est nourrie par un type intellectuel de cinéphilie en provenance de l’Europe, notamment de la France et de l’Allemagne, mais aussi plus localement, par les théories portées par le mouvement culturel pour le « minjung » (peuple). Les discours produits sur ce nouveau cinéma sud-coréen se situent donc, à la frontière entre l’art et la politique, celle-ci étant pensée comme un contrepoids à un système politique jugé corrompu. Cependant, avec l’effervescence du mouvement pour la démocratisation du pays, la résistance contre le régime autoritaire prend alors plus d’importance que le 7e art en tant que tel. Il faut attendre l’apaisement du mouvement social dû à certains processus de démocratisation politique pour qu’un équilibre se dessine entre l’ambition esthétique et l’ambition politique de la Munhwawon sedae. Son engagement pour l’évolution du cinéma sud-coréen constitue une réelle initiative dans le champ cinématographique du pays. Dès lors, les « membres » de la Munhwawon sedae qui, autrefois n’avaient été que simples spectateurs, diffusent leur cinéphilie en tant que réalisateurs, producteurs, critiques et professeurs de cinéma. Dans l’ensemble, notre thèse s’attache à montrer comment, au milieu des années 1990, la Munhwawon sedae a marqué la fin de « l’âge sombre » du cinéma sud-coréen. En se positionnant de cette manière, au cœur d’une nouvelle vague artistique et politique, elle a contribué à établir une nouvelle élite culturelle sud-coréenne. La Munhwawon sedae était donc à la fois la première bénéficiaire des changements de contexte social autour du cinéma en Corée du Sud et la facilitatrice de la légitimation culturelle du cinéma sud-coréenA process of cultural legitimation of the cinema has occurred in South Korea since the 1980s. This thesis focuses on the role that cinephiles grouped under the expression of the Munhwawon sedae, the generation of cultural centers, have played in this process. Accordingly, I analyze this notion, understood as a social network of South Korean cinephiles who emerged as a result of frequenting European countries’ cultural centers in Seoul between 1977 and 1984. The analysis is based on a prosopographic method to understand the relationships between individuals and institutions, particularly the trajectory and various discourses on the Seventh Art of the Munhwawon sedae. As I demonstrate, this trajectory is nourished not only by an intellectual type of European cinephilia but also, more locally, by theories of cultural movement for the minjung (people). The discourses produced on the “South Korean new cinema” therefore exist on the border between art and politics. The latter side was seen as a counterweight to an absurd political system. Thus, I strive to show how the political objective has progressively taken precedence over the artistic objective with the effervescence of the movement for the democratization of the country: the resistance against the presumed incoherence of society then becomes more important than the pursuit of the Seventh Art. Until the end of the political democratization process of the country, a balance is drawn between the aesthetic and political ambition of the Munhwawon sedae. The engagement of these cinephiles within the evolution of the South Korean cinema constitutes a new initiative in the field. Now, the “members” of the Munhwawon sedae, who once were movie fans frequenting European countries’ cultural centers, have spread their cinephilia as directors, producers, critics, and film educators. Overall, this thesis focuses on how, in the mid-1990s, the Munhwawon sedae announced an end to the dark age of South Korean cinema. By positioning itself in this way, literally at the heart of this artistic and political new wave, the Munhwawon sedae formed as the new cultural elite of South Korean society
3
Cho, Kyoung-Hee. "Le « Cinéma ouvert » de Jang Sun-Woo". Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA063.
Pełny tekst źródłaStreszczenie:
Notre travail se consacre à l’étude exhaustive de l’œuvre cinématographique et théorique du cinéaste coréen contemporain Jang Sun-woo. Celui-ci fut d’abord un critique et un théoricien du cinéma, son concept de « Cinéma ouvert » (1982) vise à introduire et à penser un « nouveau cinéma ». Jang Sun-woo souligne le besoin d’une critique, d’une invention formelle et aussi d’une théorie pour le cinéma coréen saisie dans la logique de son Histoire. En particulier, le cinéaste coréen s’y positionne pour réaliser un cinéma en vue de l’harmonie entre l’individu et la communauté.Le « Cinéma ouvert » est un concept qui fusionne le cinéma et le théâtre. Il est influencé, d’une part par le Madanggeuk, le théâtre moderne coréen composé de plusieurs unités plus ou moins indépendantes de la narration, et d’autre part, par la théorie du montage d’Eisenstein travaillant sur la dialectique entre la continuité et la discontinuité. Pour Jang Sun-woo, l’œuvre reste ouverte, c’est-à-dire non close sur elle-même, au sens où elle ne s’achève qu’au moment de la réception par le spectateur. Les films intègrent explicitement l’expérience du spectateur, proposent le dialogue avec celui-ci et créent des initiatives en matière d’interpellation. Pour ce faire, ils emploient la répétition, la métamorphose, l’analogie, l’allégorie, l’abstraction et certaines formes d’hybridation. Notre monographie observe l’évolution de l’œuvre de Jang Sun-woo dans son ensemble (critiques, films, publications), en approfondissant les questions essentielles et spécifiques que celle-ci soulève : comment les notions de Minjung (peuple), de masse, de spectateur évoluent-elles ? L’esthétique de l’ouverture peut-elle permettre d’émanciper le spectateur et à quel type de changement aspire-t-elle ? Enfin, quel rituel Jang Sun-woo organise-t-il en vue de réaliser l’Utopie ?This thesis devotes itself to the analysis of the film and the theoretical work of Korean contemporary director Jang Sun-woo. He was initially a critic and a film theorist, his concept of "Open Cinema" (1982) aims to introduce about "the new cinema" which accentuates the need of the critics, the formal invention and also a theory for the Korean cinema with the consideration about its historical context. In particular, Jang Sun-woo insists on making a movie with the harmony between the individual and the community.The "Open Cinema" is a concept that combines the aesthetic of the film and the theater. Firstly, it is influenced by the Madanggeuk, the modern Korean theater is composed with several acts more or less independent of the narrative. Secondly, it is inspired by Eisenstein’s theory of editing which is based on the dialectic form between the continuity and the discontinuity. For Jang Sun-woo, the film remains open in a sense that it finds its conclusion in the interpretation of the audience. In his idea, the film incorporates the experience of the audience and creates his interpellation. To realize that, Jang Sun-woo proposes several rhetorics of image like repetition, metamorphosis, analogy, allegory, abstraction, and certain forms of hybridization.Our monograph observes the evolution of Jang Sun-woo’s whole work (critics, films, publications) which raises the essential and specific questions: how the concepts of the Minjung (people), the mass and the audience were developed? Can the aesthetics of openness allow the audience to be emancipated and what kind of change it implies? Finally, what sort of ceremonial Jang Sun-woo organizes for performing Utopia?
Książki na temat "Korean new wave"
1
Korean cinema: The new Hong Kong : a guidebook for the latest Korean New Wave. Victoria, B.C: Trafford, 2002.
Znajdź pełny tekst źródła
2
Sinhallyu wa munhwa idong ŭi chihyŏnghak: New Korean wave and cultural topography. Sŏul-si: Nonhyŏng, 2013.
Znajdź pełny tekst źródła
3
'90-yŏndae chʻaemuk ŭi sae mulkyŏl: New wave in '90 Korean color & inkpinting [i.e. inkpainting] : 21-segi rŭl hyanghan saeroun toyak. Sŏul: Yesul kwa Pipʻyŏngsa, 1991.
Znajdź pełny tekst źródła
4
Korea (South). Taetʻongnyŏng Chamun Chŏngbu Hyŏksin Chibang Punkwŏn Wiwŏnhoe. A New wave of government innovation in Korea. Seoul]: Presidential Committee on Government Innovation & Decentralization, 2007.
Znajdź pełny tekst źródła
5
Jin, Dal Yong. The Rise of the New Korean Wave. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039973.003.0001.
Pełny tekst źródłaStreszczenie:
This chapter first discuses the rise of Korean popular culture and its dissemination in Asian countries, known as the Korean Wave, or Hallyu. It characterizes the Korean Wave into roughly two major historical developments: the Hallyu 1.0 era (approximately between 1997 and 2007) and the Hallyu 2.0, New Korean Wave, era (mainly from 2008 to the present). Although these two periods share some common phenomena, they are dissimilar in their major characteristics, such as the major cultural forms exported, technological developments, fan bases, and government cultural policies. It then sets out the book's purpose, which is to explore the recent evolution of Hallyu in a socioeconomic context alongside its textual meanings. The chapter then discusses the hybridity in Korean popular culture followed by an overview of the subsequent chapters.
6
Jin, Dal Yong. Cultural Politics in the New Korean Wave Era. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039973.003.0002.
Pełny tekst źródłaStreszczenie:
This chapter investigates the role of the nation-state in the cultural industries and the Korean Wave in the context of the broader social structure of society amid neoliberal globalization. It articulates how the Korean government has developed the cultural industries and the ways in which the government has cultivated its cultural policies in global trade, such as export promotion, direct and indirect export subsidies and supports, and the promotion of the nation's cultural image abroad. It especially analyzes whether neoliberal ideologies, emphasizing a small government regime, have completely altered state interventionism, known as developmentalism, in the Korean Wave, leading to further discussion of the role of the nation-state. The chapter historicizes the Korean Wave phenomenon according to major policy shifts surrounding media ecology, driving the change and continuity of Hallyu over the past eighteen years.
7
The Korean wave: A new pop culture phenomenon. Korea: Korean Culture and Information Service, 2011.
Znajdź pełny tekst źródła
8
New Korean wave: Transnational cultural power in the age of social media. University of Illinois Press, 2016.
Znajdź pełny tekst źródła
9
The Korean wave: As viewed through the pages of the New York Times in 2006. New York, NY: Korean Cultural Service, 2007.
Znajdź pełny tekst źródła
10
Jin, Dal Yong. Transnational Television Programs. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039973.003.0003.
Pełny tekst źródłaStreszczenie:
This chapter documents recent developments characterizing the New Korean Wave in the realm of the broadcasting sector. It discusses television Hallyu as both transnational cultural production and transnational cultural flow. Admitting the continuing importance of dramas in the Korean Wave, it analyzes the growth of global formats, including audience competition shows, in order to understand the major characteristics of local formats in tandem with hybridity. In the realm of drama, it examines the change from ready-made dramas to format dramas in the New Korean Wave era. Then it investigates the ways in which Koreans consume the image of Hallyu and the way it is represented in Korean audition programs. Unlike the case during the early 2000s, the New Korean Wave has been heavily influenced by transnational participation and audiences. By employing a textual analysis of a few television programs within a historical context, the chapter also maps out whether localized global formats guarantee the creation of new cultural spaces.
Części książek na temat "Korean new wave"
1
Song, Jun-Min, i Yu-Min Joo. "From Rubble to the Korean Wave Hub: The Making of the New Digital Media City in Seoul". W Re-Imagining Creative Cities in Twenty-First Century Asia, 145–60. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-46291-8_10.
Pełny tekst źródła
2
"The netizen movement: a new wave in the social movements of Korea". W Contemporary South Korean Society, 137–56. Routledge, 2012. http://dx.doi.org/10.4324/9780203084373-15.
Pełny tekst źródła
3
"CHAPTER 5. NEW CULTURE: Seoul in the Korean Wave". W Seoul, 197–246. University of Hawaii Press, 2018. http://dx.doi.org/10.1515/9780824873318-006.
Pełny tekst źródła
4
Kim, Ju Oak. "The Korean Wave and the New Global Media Economy". W The Routledge Handbook of Digital Media and Globalization, 77–85. Routledge, 2021. http://dx.doi.org/10.4324/9780367816742-10.
Pełny tekst źródła
5
Trigo Maldonado, Alvaro. "An Approach to the Use of Literature in the Korean Language Class". W Teaching Language and Literature On and Off-Canon, 129–43. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3379-6.ch007.
Pełny tekst źródłaStreszczenie:
During the last years, the Korean language has been gaining popularity worldwide as a second language. This is partly due to the international success of the so-called Korean wave or hallyu-related cultural products. This increase of interest in learning the language has produced a new market for Korean language books, and the past years have seen a lot of specific-purpose materials for Korean learners being published. However, it is possible to argue that literature has been underrepresented in this new wave of publications. In the following chapter, the author examines a series of the most relevant materials oriented or dealing with Korean literature in their curriculum trying to offer an approximation on the state of question and reflecting on the reasons behind proposing ideas on how to improve literature teaching in the Korean language classroom.
6
Okazaki, Sumie, i Nancy Abelmann. "Jun-Ho". W Korean American Families in Immigrant America, 174–200. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479804207.003.0008.
Pełny tekst źródłaStreszczenie:
This chapter features the Hyun family, the most recently immigrated family, who had arrived in the United States only two years prior to our meeting. Although the parents had decided to emigrate to the United States to provide their teenage sons with better opportunities—riding the popular wave of sending Korean children overseas for precollege study abroad—the mother had her own dreams about the desired impact of immigration for her own sense of cosmopolitanism as well as family cohesiveness. The chapter follows the travails of the older son as he struggled to meet the demands of being a college-bound English language learner—a fate foisted upon him against his will by his parents and initially resisted by him. The immigrant son eventually embraced his new American young adulthood in unexpected ways (and somewhat to his parents’ dismay) by joining the U.S. Army and serving tours in the Middle East. This chapter draws continuity between the more settled Korean American families (like those featured in previous chapters) and the more recently immigrated Korean American families by capturing the illusiveness as well as the unexpected possibilities of immigrant American young adulthood.
7
"‘Beyond Forgiveness’? Lee Chang-dong’s Oasis (2002) and the Mobilisation of Disability Discourses in the Korean New Wave". W Cultures of Representation, 33–46. Columbia University Press, 2016. http://dx.doi.org/10.7312/fras17748-005.
Pełny tekst źródła
8
Hong, Sora. "La Munhwawŏn sedae et le Centre culturel français à Séoul : la naissance de la Korean New Wave, le nouveau cinéma sud-coréen dans les années 1980-1990". W Des ciné-goûters aux séances pour les cinéphiles, 235–46. Presses universitaires du Septentrion, 2021. http://dx.doi.org/10.4000/books.septentrion.104235.
Pełny tekst źródła
9
Orbach, Danny. "Jewel in The Palace". W Curse on This Country. Cornell University Press, 2017. http://dx.doi.org/10.7591/cornell/9781501705281.003.0003.
Pełny tekst źródłaStreszczenie:
This chapter discusses the rise of a new political order in Japan during the period 1868–1873. In order to legitimize their rule, the leaders of the interdomainal alliance chose to “hide” their power behind the prestigious institution of the emperor, without giving him real power. When the interdomainal alliance collapsed in autumn 1873, it left in its wake formidable waves of military insurgency. The chapter first describes the reign of the Japanese emperor, who was compared to a “jewel” held by the leaders of the government—well respected, but devoid of real power. It then considers the Meiji regime, which was established through a series of decisive reforms, as well as the rifts and rivalries of the interdomainal alliance, particularly between the Chōshū and Satsuma domains. Finally, it examines Japan's conflict with Korea and the collapse of the interdomainal alliance.
10
Haggard, Stephan, i Marcus Noland. "Conclusion". W Hard Target. Stanford University Press, 2017. http://dx.doi.org/10.11126/stanford/9781503600362.003.0008.
Pełny tekst źródłaStreszczenie:
This chapter looks back at our findings, measuring them against some of the analytic expectations established in our introduction in Chapter 1. It then asks two speculative questions. First, what if North Korea were to change? How might that affect the conclusions drawn here? Particular consideration is given to economic reform processes. Second, what if the major parties undertook different strategies with respect to North Korea? These questions permit us to engage in some comparisons with other relevant cases, most notably Iran, and to consider a new spate of diplomatic initiatives—including both sanctions and proposals for engagement—introduced in the wake of the fourth nuclear test in early 2016.
Streszczenia konferencji na temat "Korean new wave"
1
Jeong, S. J., J. K. Shin, J. Y. Lee i J. H. Yoon. "Development of the New Aquaculture Fishcage for Open Ocean Areas". W 25th International Conference on Offshore Mechanics and Arctic Engineering. ASMEDC, 2006. http://dx.doi.org/10.1115/omae2006-92534.
Pełny tekst źródłaStreszczenie:
Until now, Korean aquaculture industry has been grown largely in quality and quantity. However, an increase of quantity has caused lots of problems like sea pollution lately. Nearly 82% of Korean aquaculture farms had been installed mainly at inshore of the southern sea, so, sewage, factory wastes, high density of farms at the limited area and autoinfection have deteriorated inshore fisheries. Now, the open sea has been on the rise for the solution to these problems since it has clear seawater that will expect to decrease the environmental pollution with much current. As a matter of fact, it is impossible to move the existing fish cages to the open sea due to the rough environmental conditions such as higher waves, strong currents etc.; therefore, it is necessary to develop new fish cage equipment that will fully meet the open sea conditions. In this research, the theoretical study and experimental analysis have been carried out for the structural fish cage design which is feasible for the open sea.
2
Jones, Jack A., i Yi Chao. "Offshore Hydrokinetic Energy Conversion for Onshore Power Generation". W ASME 2009 28th International Conference on Ocean, Offshore and Arctic Engineering. ASMEDC, 2009. http://dx.doi.org/10.1115/omae2009-79770.
Pełny tekst źródłaStreszczenie:
Design comparisons have been performed for a number of different tidal energy systems, including a fully submerged, horizontal-axis electro-turbine system, similar to Verdant Tidal Turbines in New York’s East River, a platform-based Marine Current Turbine, now operating in Northern Ireland’s Strangford Narrows, and the Rotech Lunar Energy system, to be installed off the South Korean Coast. A fourth type of tidal energy system studied is a novel JPL/Caltech hydraulic energy transfer system that uses submerged turbine blades which are mechanically attached to adjacent high-pressure pumps, instead of to adjacent electrical turbines. The generated high-pressure water streams are combined and transferred to an onshore hydroelectric plant by means of a closed-cycle pipeline. The hydraulic energy transfer system was found to be cost competitive, and it allows all electronics to be placed onshore, thus greatly reducing maintenance costs and corrosion problems. It also eliminates the expenses of conditioning and transferring multiple offshore power lines and of building offshore platforms embedded in the sea floor. For time-dependent tidal energy, the pressurized hydraulic energy can be stored in an elevated onshore reservoir that can be used as per consumer energy demand, rather than as per tidal energy supply. This technology is a spinoff of a miniature ocean hydraulic energy transfer system that JPL is developing for the Office of Naval Research (ONR). The ONR device uses ocean temperature differences to provide pressurized hydraulic energy which supplies all electrical power for small submersibles. This type of hydraulic energy device is expected to allow submersibles to stay submerged for years. A three-month ocean endurance test is scheduled for late 2009. Similar types of hydraulic energy transfer systems are potentially applicable to all types of hydrokinetic energy, including free-flowing rivers, ocean wave energy, and energy from ocean currents, such as the Gulf Stream. In each case, the corrosion-prone, submerged electrical turbines are replaced by all-mechanical water pumps without any electrical components, and the energy is hydraulically transferred to remote onshore hydroelectric plants by inexpensive pipes. The submerged mechanical turbine blade/pump assemblies can be attached by long, small-diameter, flexible pressurized lines to the larger submerged, stationary pipe lines, thus allowing the submerged blade/pump assemblies to be lifted to the surface and serviced by boat. Check valves in the flexible lines allow damaged turbine blade/pump assemblies to be automatically taken off-line and later repaired or replaced as required.
3
Watanabe, Toshiaki, Hironori Maehara, Masahiko Otsuka i Shigeru Itoh. "Basic Study on the Crushing of Frozen Soil by Shock Loading". W ASME 2007 Pressure Vessels and Piping Conference. ASMEDC, 2007. http://dx.doi.org/10.1115/pvp2007-26430.
Pełny tekst źródłaStreszczenie:
The aim of study is to confirm a new technique that can crush the frozen soil and/or ice block using underwater shock wave generated by the underwater explosion of explosive. This technique can lead to the earlier sowing, which can have the larger harvest because the duration of sunshine increases. Especially, in Hokkaido prefecture, Japan, if the sowing is carried out in April, we can expect to have 150% of harvest in the ordinary season. This technique is effective against the cold regions. For example, Korea, China, Mongolia, Russia, Norway, and Sweden, etc. At first, we carried out experiments usung a detonating fuse and ice block. The process of ice breaking was observed by means of a high-speed camera. In order to check about that influence we tried to give an actual frozen soil a shock wave.
4
Konya, Sevilay, Zeynep Karaçor i Mücahide Küçüksucu. "Panel Estimation for the Relationship between Real Wage, Inflation and Labor Productivity for OECD Countries". W International Conference on Eurasian Economies. Eurasian Economists Association, 2019. http://dx.doi.org/10.36880/c11.02305.
Pełny tekst źródłaStreszczenie:
There are studies examining the relationship between real wage, inflation and labor productivity in the economic literature. Increase in real wages causes to an increase in labor productivity. On the other hand, productivity increases also induce inflation to fall. Therefore, the aim of this study is to investigate the relationship between real wage, inflation and labor productivity in the 22 OECD countries (Australia, Belgium, Canada, Chile, Czech Republic, France, Greece, Hungary, Japan, Korea, Latvia, Luxembourg, Mexico, Netherlands, New Zealand, Poland, Portugal, Slovak Republic, Slovenia, Spain, Turkey, United States) in the period of 1995-2017 by panel data methods. According to results, the cointegration relationship between real wage, inflation and labor productivity was found. In addition, mutual causality was determined between the variables we discussed.
5
Sohn, ByungKyu, Jeong-Woo Lee i Seung-Hwan Won. "Hydraulic Characteristics of Artificial Reefs Using the Oyster Shell". W ASME 2009 28th International Conference on Ocean, Offshore and Arctic Engineering. ASMEDC, 2009. http://dx.doi.org/10.1115/omae2009-79656.
Pełny tekst źródłaStreszczenie:
For settlement and growth of shellfish and seaweed, artificial reefs have been deployed in the Korea waters for last thirty years. Nowadays, according to whitening phenomenon, the construction of seaweed beds becomes important; therefore, the role of artificial reefs is more emphasized. In addition, the recycle of shellfish wasters become an environmental issue; hence, among the wasters, oyster shells have been used as parts of a new artificial reef, namely OS-type artificial reefs. However, it is required to investigate their stability and functionality before deploying the reefs in fields. This study presents the stability (sliding and overturning) tests of the artificial reefs using oyster shell. For the tests, hydraulic experiments have been done in a 2-D flume. From the experiments, it is shown that how stability parameters such as surf similarity parameter, water particle velocity, wave pressure, etc. affect the sliding and overturning. These results give ones guideline for installation of artificial reefs in fields.