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Kaetrena Davis Kendrick, M.S.L.S.

University of South Carolina Lancaster

Welcome to Part 4 of my ongoing series of bibliographic entries about Hallyu.   These entries are listed by year, not by author (TIP: If you know about a title or author and you want to see if it’s included in this listing, use the CTRL +F function).

To learn more about my searching parameters, information-gathering processes, and your ability to access these items, see my earlier essay titledFor Your Reading Pleasure: Introducing A Hallyu Bibliography.”  Click for Part 1 , Part 2, and Part 3 of the bibliography.

This is a working post, so if you would like to submit items to this list or to the bibliography, please contact me directly at kaetrena@mailbox.sc.edu

NOTE:  In order to make it easier to locate authors (and where possible), I’ve modified these APA Style citations by adding full author names where possible.

Global Impact

Dator, Jim. and Yongseok Seo. (2004). Korea as the wave of a future: The emerging dream society of icons
and aesthetic experience. Journal of Futures Studies 9(1): 31–44. Accessed 27 March 2012 from http://www.jfs.tku.edu.tw/9-1/04.pdf?referer=www.clickfind.com.au

Cho, Hae Joang. (2005). Reading the “Korean Wave” as a Sign of Global Shift.  Korea Journal 45: 147–82. Accessed 27 March 2012 from http://www.ekoreajournal.net/issue/view_pop.htm?Idx=3359

Mangliankay, Roald. (2006). When the Korean wave ripples. IIAS Newsletter, 42: 15. Accessed 27 March 2014 from https://openaccess.leidenuniv.nl/bitstream/handle/1887/12766/IIAS_NL42_15.pdf?sequence=1

Yang-hwan, Jeong. (2007). Comics soar as new Korean wave. Korea focus on current topics, 15(1):67-69. Accessed 27 March 2014 from http://www.koreafocus.or.kr/images/upload/pdf/101439.pdf

Shin, Hyunjoon. (2009). Have you ever seen the Rain? And who’ll stop the Rain?: the globalizing project of Korean pop (Kpop). Inter-Asia Cultural Studies, 10(4): 507-523.

 Globalization

Nederveen Pieterse, Jan. (1995). Globalization as hybridization. In M. Featherstone, S. Lash and R. Robertson (Eds.) Global Modernities. pp.45 – 68. London: Sage.Cho, Uhn. 2005. Positioning the Korean wave in the nexus between globalization and localization. Korea Journal, 45(4): 143-146.

Lee, Hee-Eun. (2005). Othering ourselves: identity and globalization in Korean popular music, 1992-2002. Thesis, University of Iowa.(see also, Identity and Nationalism)

Kim, Youna. (2005). Experiencing globalization. International Journal of Cultural Studies, 8(4): 445-463.

Kim, Ju Young. (2007). Rethinking media flow under globalisation: rising Korean wave and Korean TV and film policy since 1980s. PhD thesis, University of Warwick. Accessed 27 March 2014 from http://wrap.warwick.ac.uk/1153/1/WRAP_THESIS_Kim_2007.pdf

Seo, Yongseok. (2006). East Asian response to the globalization of culture: perceptional change and cultural policy. In J. Dator, Dick Pratt and Yongseok Soo (Eds.) Fairness, globalization and public institutions: East Asia and beyond. X: University of Hawai’i Press. pp. 319 – X. (see also, Culture)

Yang, J. (2007). Globalization, nationalism and regionalization: The case of Korean popular culture. Development and Society, 36(2): 177-199.

Sung, Sang Yeon. (2008). Globalization and the regional flow of popular music: the role of the Korean wave (Hanliu) in the construction of Taiwanese identities and Asian values. Thesis, Indiana University, Bloomington.

Le, Lan Xuan. (2009). Imaginaries of the Asian modern: text and context at the juncture of nation and region. Thesis, Massachusetts Institute of Technology.  

Ryoo,  W.   (2009).  Globalization,  or  the  logic  of cultural  hybridization:  The  case  of the  Korean  wave.  Asian Journal  of Communication,  19(2),  137 -15I .

Iwabuchi, Koichi. (2010). Globalization, East Asian media cultures and their politics. Asian Journal of Communication, 20(2): 197-212.

Happy Reading!

KDK/Nunee (M.S.L.S.)

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This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License

JOIN KPK!

Are you a motivated, committed, detail-oriented person? Want to use your love of Korean popular culture for something important?  KPK: Kpop Kollective is looking for undergraduate and graduate students who are passionate about Hallyu (Korean wave) popular culture or interested in digital humanities to support KPK’s mission to collect and organize digital material and publish scholarly musings about K-pop and digital humanities.

Fostering a fun and engaging environment, KPK remains the only community of scholars that collaboratively creates resources and analysis of Korean cultural production for a public audience, thereby creating a public intellectual space for examining K-pop from a perspective outside of Asia.   Members of KPK have published on Korean popular culture and library practice and have presented at numerous academic conferences, including Association for Asian American Studies, Association of College and Research Libraries, Central Savannah Library Association Conference and the Popular Culture Association/American Culture Association Conference.

We invite individuals from around the world who can communicate well in English and have consistent access to the Internet to apply. All positions are voluntary (nonpaid) and all successful applicants undergo training and a one-month probationary period.  We highly value enthusiasm, commitment and a willingness to learn.

COMPILER 

KPK is looking for current or former undergraduate students who have an interest in K-pop to be compilers. Compilers gain valuable experience working on an active scholarly project. If selected, compilers sign up for a three-month term, which may be renewed. Exceptional compilers may be promoted.

We expect Compilers to complete assignment every two weeks.  Duties include:

  • Creating screenshots for KPK projects
  • Creating playlists on KPK’s YouTube Channel
  • Providing relevant content for KPK’s social media

How to apply: Fill out the brief application.  Upon receipt, we will contact you with a sample assignment to complete and return. Members of KPK senior staff will review your completed assignment and make a decision within one week (seven days).

FELLOW 

KPK is looking for graduate students who have a research interest in Hallyu popular culture to be Fellows. Fellows gain valuable experience working on a collaborative research project, training in digital tools and receive feedback on and exposure for their own work.  If selected, Fellows sign up for a four-month term, which may be renewed. Exceptional Fellows may be promoted.

We expect Fellows to complete assignments every two weeks.  Duties include:

  • Compiling information for discographies and videographies
  • Contributing a blog post to KPK’s WordPress site once a month

How to apply: Fill out the brief application.  Upon receipt, we will contact you with a sample assignment to complete and return. Members of KPK senior staff will review your completed assignment and application and make a decision within one week (seven days).

If you have any questions, please email:  kpopkollective@gmail.com.

Slide08

As you know, iFans: Mapping Kpop’s International Fandom is a study seeking to understand the attitudes of global fans of K-pop’s most successful groups. You can now view the results of the analysis of the survey data and an email interview with a fan of SNSD!  Click here to view the What Fans Think section of the digital exhibit.  Sad that you aren’t included? You can always take the email survey online here! C’mon, SONES, you are one of the biggest K-pop fandoms out there! Click the link and represent!

Kaetrena Davis Kendrick, M.S.L.S.

University of South Carolina Lancaster

Welcome to Part 3 of my ongoing series of bibliographic entries about Hallyu.   These entries are listed by year, not by author (TIP: If you know about a title or author and you want to see if it’s included in this listing, use the CTRL +F function).

To learn more about my searching parameters, information-gathering processes, and your ability to access these items, see my earlier essay titled “For Your Reading Pleasure: Introducing A Hallyu Bibliography.”  Click for Part 1 and Part 2 of the bibliography.

This is a working post, so if you would like to submit items to this list or to the bibliography, please contact me directly at kaetrena@mailbox.sc.edu

NOTE:  In order to make it easier to locate authors (and where possible), I’ve modified these APA Style citations by adding full author names where possible.

Culture

Iwabuchi, Koichi, Stephen Muecke, & Mandy Thomas. (2004). Rogue Flows: Trans-Asian Cultural Traffic. Hong Kong: Hong Kong University Press.

Kim, J.H. (2004). Korean wave in Japanese culture. Journal of Human Subjectivity, 4(1): 85-95. 

Park, Jung-sun. (2004). Korean American youth and transnational flows of popular culture across the Pacific. Amerasia Journal, 30(1): 147-169.

Fu Su Yin, Kelly, and Kai Khiun Liew. (2005).  “Hallyu in Singapore: Korean Cosmopolitanism or the Consumption of Chineseness?” Korean Journal 45.4: 206-32.

Iwabuchi, Koichi. (2005). Discrepant intimacy: Popular culture flows in East Asia. In J.N. Erni and S.K. Chua (Eds.) Asian Media Studies: Politics of Subjectivities. Hong Kong: Hong Kong University Press.

Jeon, G. and T. Yoon. (2005). Realizing the Korean wave into an Asiatic flow. Korean Journal of Broadcasting

Kwon, Haesoo and Chai Wonho. (2005). The diffusion of Korean Wave (Hallyu) as a cultural exchange. In 2005 Proceedings of the International Conference of Seoul Association for Public Administration (SAPA). pp. 1 -20.

Lee, Keehyeung. (2005). Assessing and Situating ‘the Korean Wave’ (Hallyu) through a Cultural Studies Lens. Asian Communication Research, 2(2): 5-22. Abstract assessed 2 November 2011. http://www.dbpia.co.kr/view/ar_view.asp?arid=1030476

Park, J.S. (2005). The Korean Wave: Transnational cultural flows in Northeast Asia. In C.K. Armstrong, G. Rozman, S.S. Kim & S. Kotkin (Eds.), Korea at the Center: Dynamics of Regionalism in Northeast Asia. London: M.E. Sharpe, Inc.

Lee, Heejae. (2005). The Korean wave on the viewpoint of Hwa-Yi (China-Barbarism). First International Conference of the Asian Philosophical Association. pp.117 – 124. Accessed 22 August 2012 from http://www.icapa2005.fatih.edu.tr/icapa2005.pdf#page=125

Lee, Jamie Shinhee. (2005). Discourses of fusion and crossing: Pop culture in Korea and Japan. Thesis, University of Illinois at Urbana-Champaign.

Kim, Shin Dong. (2006). Mass culture of/in Korea. Accessed 24 August 2012 from http://his.hallym.ac.kr/site/user_up/file/2006_s9.doc

 Seo, Yongseok. (2006). East Asian response to the globalization of culture: perceptional change and cultural policy. In J. Dator, Dick Pratt and Yongseok Soo (Eds.) Fairness, globalization and public institutions: East Asia and beyond. X: University of Hawai’i Press. pp. 319 – X. 

Kim, Eun Mee. (2007). South Korean culture goes global?: Kpop and the Korean wave. Presented at the University of California, Los Angeles International Institute. Accessed 28 August 2012 from http://www.international.ucla.edu/calendar/showevent.asp?eventid=6106

Kim, Eun Mee and Jiwon Ryoo. (2007). South Korean culture goes global: Kpop and the Korean wave. Korean Social Science Journal, 34(1): 117-152. Retrieved from http://kossrec.org/board/imgfile/KSSJ%20Vol.34.no.1(Eun%20Mee%20Kim%26Jiwon%20Ryoo)).pdf

Kim, Jeongmee. (2007). Why does hallyu matter? The significance of the Korean wave in South Korea. Critical Studies in television: scholarly studies in small screen fictions, 2(2): 47-59.

Xuenzhe, Liu. (2007). The rising Korean wave among Chinese youth. Accessed 23 November 2011 from http://fxqw820.tripod.com/AWS.pdf

Choi, Jaz Hee-jeong (2008). The New Korean Wave of U. In Anheier, Helmut K. & Isar, Yudhishthir Raj (Eds.) Cultures and Globalization : The cultural economy. Sage Publications, Thousand Oaks, CA

Ko, Y.J. (2008). Riding with the Korean wave: Reflections on trans-Asian cultural flows. Paper presented at the New Media and Global Diaspora Symposium. Accessed 28 March 2012 from http://reasonandrespect.rwu.edu/journal/index.php/2009/05/26/riding-with-the-korean-wave-reflections-on-trans-asian-cultural-flows/

Vuong, Phuong My. (2008). Korean wave: cultural influence upon China. Thesis, Concordia University Irvine.

Jung, Eun-Young. (2009). Transnational Korea: A critical assessment of the Korean wave in Asia and in the United States. Southeast Review of Asian Studies, 31: 69-80. Accessed 2 November 2011 fromhttp://www.uky.edu/Centers/Asia/SECAAS/Seras/2009/06_Jung_2009.pdf 

Kim, Sujeong. (2009). Interpreting transnational cultural practices. Cultural Studies, 23(5/6): 736-755.

Lee, Jung-yup. (2009). Managing the transnational, governing the national: Cultural policy and the politics of “culture archetype” project in South Korea. Accessed 5 April 2012 from http://sonicscape.koreanpop.org/wp-content/uploads/2009/07/jylee-culture-archetype-20090704.pdf

Leung, L.Y. M. (2009). Daejanggeum as ‘affective mobilization’: Lessons for (transnational) popular culture and civil society. Inter-Asia Cultural Studies, 10(1): 51-66.

Ayhan, Kadir. (2010). The nexus between East Asian regionalization and popular culture: the case of the Korean wave. Seoul National University (thesis).Retrieved from http://library.snu.ac.kr/site/snu/viewer/SNUPDFViewer.jsp?cid=3387447&moi=1778232&file=2415694

Chua, Beng Huat. (2010). Korean pop culture. Malaysian Journal of Media Studies, 12(1): 15-24. Accessed 4 April 2012 from http://umepublication.um.edu.my/filebank/published_article/621/JPMM%202010_1%20Chua%20Beng%20Huat.pdf

Park, Sora. (2010). The impact of media use  and cultural exposure on the mutual perception of Koreans and Japanese. Asian Journal of Communication, 15(2): 173-187.

Bergen, Hannah N. (2011). Understanding Korean society through popular music. Situations, 5 (Winter): 82-90. Accessed 16 April 2012 from http://web.yonsei.ac.kr/bk21/2011%EB%85%84Situations%ED%8C%8C%EC%9D%BC/7_Hannah_Bergen_01[1].pdf

Lee, Dong-Yeon. (2011). “What Is Idol Pop?” In IDOL: From H.O.T. to SNSD, Idol Culture Report, edited by Lee Dong-Yeon, 14–48. Seoul: Imagine.

Ravikesh. (2011). A Cross-Cultural Perspective on Korean Wave (Hallyu) in South Asia. Presented at the The 3rd International Conference on Language and Communication, Bangkok Thailand.

Ramesh, Bharadwaj. A Hallyu Story: Behind the origins and success of the Korean wave in China & the future of content in a broadband world. Accessed 28 March 2011 from http://www.docstoc.com/docs/27504249/A-Hallyu-Story

Katsiaficus, George. Asia and South Korean social movements. Accessed 4 April 2012 from http://tainguyenso.vnu.edu.vn/jspui/bitstream/123456789/7550/1/Hoi%20thao%20Han%20quocTB3-03.pdf

Yasumoto, Seiko. n.d. Japan and Korea as a source of media and cultural capital. Accessed 24 August 2012 from http://rp-www.arts.usyd.edu.au/korean/downloads/KSAA2009/Global_Korea_Proceedings_311-321_Yasumoto.pdf

Cultural Industry

Otmazgin, Nissim Kadosh. (2005). Cultural commodities and regionalization in East Asia. Contemporary Southeast Asia, 3: 499-523.

Park, J. B. (2005). Expanding and sustaining ‘Korean Wave’: by the way of developing killer contents. Korean Wave 2005! – Opportunities and Challenges, Seoul, Korea, Korean Wave Promotions & Policies Foundation.

Kim, Youna. (2006). ‘Rising East Asia ‘Wave’: Korean media go global’, in  Thussu,  Daya  (ed.).  Media  on  the  Move:  Global  Flow  and  Contra  Flow, London: Routledge, pp. 135-152.  

Arcodia, C., X Zhiang, D. Sohn & T. Lee. (2008). The sustainable development of the Korean cultural entertainment industry with the Korean wave (Hallyu). Sun Yat-Sen University. (more information: http://espace.library.uq.edu.au/view/UQ:160019)

Park, Kang Ah. (2008). The growth of the cultural industry and the role of government: the case of Korea. Thesis, Massachusetts Institute of Technology. Accessed 2 November 2011 from http://dspace.mit.edu/handle/1721.1/45761

Shim, Doobo. (2008). The growth of Korean cultural industries and the Korean wave. In C.B. Huat and K. Iwabuchi (Eds.) East Asian Pop Culture: Analyzing the Korean Wave. pp. 15 – 32. Aberdeen: Hong Kong University Press.

Kim, Milim. (2011).The role of the government in cultural industry: Some observations from Korea’s experience. Keio Communication Review, 33: 163- 182. Accessed 4 April 2012 from http://www.mediacom.keio.ac.jp/publication/pdf2011/10KIM.pdf

Otmazgin, Nissim. (2011). A tail that wags the dog? Cultural industry and cultural policy in Japan and South Korea. Journal of Comparative Policy Analysis: Research and Practice, 13(3): 307-325. doi: 10.1080/13876988.2011.565916

Happy Reading!

KDK/Nunee (M.S.L.S.)

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This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License

Kaetrena Davis Kendrick, M.S.L.S

University of South Carolina Lancaster

Collaboration is an often-cited characteristic of Digital Humanities (DH) projects (Jӧttkandt 2008, Liu 2009; Honn & Morse 2013); however, does that collaboration signal something more? What kinds of relationships are created due to (or outside of) those projects? What other problems are solved as a result of shared work in DH projects? Perhaps some answers to these questions are found in the idea of communities of practice.

Communities of Practice

A simple graphic illustrating the dynamics of a Community of Practice (CoP). Retrieved October 31, 2013 from http://www.orthopaedicsone.com/display/Main/Community+of+Practice

A simple graphic illustrating the dynamics of a Community of Practice (CoP). Retrieved October 31, 2013 from http://www.orthopaedicsone.com/display/Main/Community+of+Practice

Communities of practice (CoP) are groups of people who share a concern, problem, or passion about a topic and who expand their knowledge in these areas by meeting periodically. When they meet, they discuss these concerns, bring questions to the group for insight, introduce and explore new ideas, and share what they have learned with others in the group (Wenger, McDermott and Synder 2002). The ongoing result of CoP is a process of collective education within the context of a shared goal, and that education helps the group improve and resolve issues within their domain of work (Wenger, n.d.).  CoPs also focus on or engage in:

  • common professional interests

  • problem resolution

  • knowledge discovery and sharing

  • assistance in practice

  • building or recognizing synergy and affinity

  • documentation

  • gap-filling

KPK as CoP

In the literature, CoP examples often are illustrated as belonging to the same profession or engaging in similar regular activities: a group of doctors, car thieves, or auto workers working in a manufacturing plant. In contrast, KPK members practice different professions (English professor vs. academic librarianship), but our shared identity as Kpop fans, common work environments (college campuses), similar professional activities (publishing, teaching and learning, service work) and topical concerns (Hallyu preservation and documentation) move us beyond our desire to collaborate on projects like KPOPIANA and bring us into a CoP.  I have found that the KPK CoP is a dual one: our interactions develop our collaborative KPK projects and positively impact our discrete work as college faculty, too.

What is Digital Humanities? All this and more! Retrieved October 31, 2013 from http://dhpraxisf13.commons.gc.cuny.edu/2013/09/20/defining/

What is Digital Humanities? All this and more! Retrieved October 31, 2013 from http://dhpraxisf13.commons.gc.cuny.edu/2013/09/20/defining/

Since DH is constantly changing, KPK members meet virtually and in-person as often as we can to discuss this evolution and how it affects our Hallyu preservation work. These discussions usually center around technology discovery (e.g, “What tools will help us…?”), protocol documentation (e.g. “How should we deal with…?”), and knowledge creation (e.g., “What should we know about…?”). In equal measure, we also are concerned with professional development, scholarship, and pedagogy. More often than not, we have found that many solutions for KPK concerns have also been applicable to our daily practice of teaching or librarianship.  As an example, Dr. Anderson and I originally used Screencast-O-Matic (a screen capture tool) to train KPK members in virtual environments; however, during many conversations about student engagement, we discovered that we were also using the tool in our independent areas of practice: Dr. Anderson uses Screencast-O-Matic to offer feedback to her students, while I use the tool to record best practices for information-seeking during research consultations with students and other faculty.

The Bigger Picture

As a CoP, KPK does not end with its current members. Because of the nature of our work, we are constantly seeking new insight from others who have lay and formal knowledge of Korean popular culture and best practices in DH. While we are a unique project, we want to learn what others are doing, what challenges they have experienced, and how they have overcome these challenges in the pursuit of scholarship and open access to information. We also are keen to collaborate with passionate individuals and groups who are committed to these principles, regardless of the subject matter.

Big Bang Welcome. Retrieved October 31, 2013 from http://kpoprightnow.tumblr.com/

Big Bang Welcome. Retrieved October 31, 2013 from http://kpoprightnow.tumblr.com/

KPK is more than a DH project: it’s a sounding board for the continuous improvement of higher education, a sandbox for pedagogy improvement, a town hall for voicing big ideas, and a warehouse for scholarly production. Our CoP interactions improve KPK’s operations and give us opportunities to enhance our larger academic networks. We take what we learn in our small group and apply that knowledge to training our colleagues, educating students, and increasing access to scholarly communication. In this way, we become progressive thought leaders on our respective campuses and (hopefully) positive influences on communities unknown to us in the first place.  Doesn’t that make for an improved community overall? I think so.

Sources

Honn, J. & Morse, G. (2013). Digital humanities (101). Retrieved May 11, 2013 from http://acrl.ala.org/dh/2013/03/27/digital-humanities-101/

Jӧttkandt, S. (2008). Free/Libre scholarship: Open humanities press. Retrieved from http://openhumanitiespress.org/Jottkandt-03-april-08-Irvine-talk.pdf

Liu, A. (2009). Digital humanities and academic change. English Language Notes, 47(1), 17 – 35.

Wenger, Etienne, McDermott, Richard A., & Snyder, William. (2002). Cultivating communities of practice: A guide to managing knowledge. Boston: Harvard Business School Press.

Wenger, Etienne. (n.d.). Communities of practice: a brief introduction. Retrieved October 1, 2013, from https://scholarsbank.uoregon.edu/xmlui/bitstream/handle/1794/11736/A%20brief%20introduction%20to%20CoP.pdf?sequence=1

Also of Note: The Journal of Digital Humanities’ latest issue focuses on CoPs in the field.

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Keeping the ‘L’ in digital: Applying LIS Core Competencies to Digital Humanities Work

Kaetrena Davis Kendrick, M.S.L.S. • University of South Carolina Lancaster

ABSTRACT: Digital Humanities (DH) has struggled with an identity since its contemporary emergence in the early 2000s; however, a succinct definition exists, placing many core activities of the field squarely in the domain of modern librarianship. This article briefly reviews American Library Association’s Core Competencies for Librarianship and summarizes the continuing development and characteristics of DH projects. The author also reveals how LIS competencies have been applied to a Korean popular culture DH project at Elon University.  Positive implications for DH’s impact on professional development for librarians, information literacy integration, and opportunities for librarian/faculty or community collaborations are also included.

Read more:  http://bit.ly/14r4QeQ

CFP: K-POP AND K-DRAMA FANDOMS

Special issue of Journal of Fandom Studies

Guest Editors: Crystal S. Anderson and Doobo Shim

This special issue responds to the well-established and global subculture of fans of Korean popular music (K-pop) and Korean television drama (K-drama). K-pop and K-drama are the products of Hallyu, a cultural movement from Korea directed towards the global stage that originated in the late 1990s.  Recent global successes of Korean artists such as Psy, Girls Generation, 2NE1 and BigBang as well as K-drama actors such as Lee Min Ho and Jang Geun Suk represent only a portion of the vibrant and diverse fandom.  This special issue seeks to examine the uniqueness of K-pop and K-drama fandoms and their contribution to global fandom scholarship.

Read the rest of this entry »

Kaetrena Davis Kendrick, M.S.L.S.

University of South Carolina Lancaster

Welcome to Part 2 of my ongoing series of bibliographic entries about Hallyu. From here on, entries will be arranged by SUBJECT rather than format (e.g., books).  These entries are listed by year, not by author (TIP: If you know about a title or author and you want to see if it’s included in this listing, use the CTRL +F function).

To learn more about my searching parameters, information-gathering processes, and your ability to access these items, see my earlier essay titled “For Your Reading Pleasure: Introducing A Hallyu Bibliography.”

This is a working post, so if you would like to submit items to this list or to the bibliography, please contact me directly at kaetrena@mailbox.sc.edu

NOTE:  In order to make it easier to locate authors (and where possible), I’m modifying these APA Style citations by adding full author names where possible.

Business

Ha,  Y.  G.  (2006).  The  plans  for  Korean  entertainment  businesses  concerning  with the  Korean  Wave.  KBI  Focus,  6(17),  6-17

Lee, Jong-ho and Ok, Jung-won and Woo, Do-kang. (2007). The Study on Relationship of Structure among Brand Equity Factors of Hallyu. Business and Economy Studies,25: 73-96.

Yoon, Jung Keun. (2009). A case of slavery contract between singers and agency in Korea: 2009 KaHap2869. The Asian Business Lawyer, 5(123): 123-? Accessed 4 April 2012 from http://210.101.116.28/W_kiss61/1f501057_pv.pdf (partial scan).

Wenqing, Ji. 2009. Referring Korean experiences to enable the Chinese wind to outdo the “Korean Wave.”

Economics

Jung, H. (2006). The effects of consumer’s perception of Korean wave (Hallyu) on Korean product purchase and country image in Chinese market. Journal of Consumer Studies, 17(3): 79-101. (see also, Culture)

Doshisha, Yagi. (2008). International cultural exchange and economic impact. Accessed 29 March 2012 from http://yagi.doshisha.ac.jp/culture/Culturalexchange_final[1].pdf

Huang, Xiaowei. (2009). Korean wave – the popular culture, comes as both cultural and economic imperialism in the East Asia. Asian Social Science, 5(8). Accessed 2 November 2011 from http://www.ccsenet.org/journal/index.php/ass/article/view/3449/3123

Lee, J-Y. (2009). Contesting the digital economy and culture: digital technologies and the transformation of popular music in Korea. Inter-Asia Cultural Studies, 10(4): 489-506.

Oh, I. (2009). Hallyu: the rise of transnational cultural consumers in China and Japan. Korea Observer, 40(3): 425-459. 

Ha, Bongjoon. (2010).  Developing research framework and scales for the Korean Wave’s effects: An application in Malaysia. Malaysian Journal of Media Studies, 12 (1): 53-60. Accessed 24 August 2012 from http://biomed2011.um.edu.my/filebank/published_article/623/JPMM%202010_1%20Ha,%20Bongjoon.pdf

Ha, Bongjoon. (2006). Developing research framework and scales for the Korean Wave’s effects: An application in Malaysia. Broadcast International Seminar on Southeast Asia and Korea, 7:1-87.) 

Kim, Myung Oak and Sam Jaffe. (2010). The Korean wave: ebbing or flowing? In M.O. Kim and S. Jaffe The new Korea: An inside look at South Korea’s economic rise. pp. 163- 174, Accessed 26 April 2013 from http://www.cognitivestyles.com/GINA_PCA/Korean%20History%20Etc/The%20New%20Korea%20An%20Inside%20Look%20at%20South%20Korea’s%20Economic%20Rise.pdf

Ahn, Shin-Hyun. (2011). Girls’ Generation and the New Korean Wave. SERI Quarterly, 4(4): 80-86.

Kim, Jeong Gon and Se Young Ahn. (n.d.). Patterns and impacts of Korea’s cultural exports: Focused on East Asia. Accessed 22 August 2012 from
*http://home.sogang.ac.kr/sites/iias/iias04/Lists/b6/Attachments/52/6.%20Patterns_and_Impacts_of_Korea%20(Se%20Young%20Ahn_Jeong%20Gon%20Kim).docx 

Happy Reading!

KDK/Nunee (M.S.L.S.)

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This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License

483780_440608989359623_1141914171_n

Manse in the USA!: What K-pop Means in the United States

April 12, 2013 ♦ Binghamton University

Crystal S. Anderson, PhD ♦ Elon University

Despite its status as a subculture, Korean popular music of the Hallyu era (K-pop) has a significant cultural impact in the United States. Combining elements of Korean and other cultures, it appeals to fans of varying ages and ethnicities. Using surveys and analysis of online K-pop culture originating in the United States, this paper will show that hybridization explains the appeal of and the backlash against K-pop. K-pop appeals to American fans because it is simultaneously similar to and different from American popular culture. American fans recognize elements of American culture and they embrace Korean cultural elements. At the same time, critiques of K-pop in the United States target those very elements, mocking K-pop and its fans for the ways they diverge from mainstream American cultural norms. For many in the United States, K-pop represents a complex negotiation with a Korean global culture.

While the world has been familiar with online video for a while now, “screencasting” is a relatively new term in our technological vocabulary. Screencasting is similar to a screenshot, but instead of having static images, it’s a video of what is happening on your computer screen. This can be a powerful tool to teach people using visuals and audio. At least that’s how Dr. Crystal Anderson, a professor in the English department, uses it.

Read more at Elon University – Instructional and Campus Technologies!

 

Kaetrena Davis Kendrick, M.S.L.S

University of South Carolina Lancaster

When you click the “KPK Members” link on our site, our bios’ upbeat language states we have certain skill sets that match well with the work of KPK, and you know that we are Kpop fans. I think our identification as Kpop fans is one of the unique characteristics of our collaboration.

While KPK members approach the work of KPK as people who truly enjoy and participate in Kpop culture and some associated activities, our passion for Kpop is a minimum requirement for the work we do. Our work also requires the courage to forge a path in a niche research area within a discipline that is still developing, a willingness to perform due diligence, and not unlike the most successful Kpop idols, the will to perform seemingly repetitive actions in pursuit of a professional and cohesive body of work for an audience who’d like to consume a quality product.

This past January, KPK marked its second anniversary, and in that time we have improved our artist profiles and expanded our research projects. In the same amount of time, the DH discipline still struggles with its very identity – literally. In a recent article in The Chronicle of Higher Education, William Pannapacker (with KPK’s apologies) pleads:

Stop calling it “digital humanities.” Or worse, “DH,” with a knowing air. The backlash against the field has already arrived. The DH’ers have always known that their work is interdisciplinary (or metadisciplinary), but many academics who are not humanists think they’re excluded from it….it seems more inclusive to call it digital liberal arts (DLA) with the assumption that we’ll lose the “digital” within a few years, once practices that seem innovative today become the ordinary methods of scholarship.

DH (or DLA) labels aside, KPK is performing the unique work of organizing Kpop artist information and Kpop fan activities during a time when DH standards are wide-ranging and many actions that were once considered within the discipline have been challenged as the field evolves. When KPK considers adding new projects or updating current ones, we revisit the evolving rules of DH and work to reconcile them with the KPK educational mission. Because of this evolution, our passion for Kpop (“let’s gather every single photo we can find of Eric because Shinhwa is awesome!”) has always been tempered by the scholastic/research activity of due diligence (“which photos of Shinhwa reflect a certain aspect of the group’s position in/influence on Hallyu’s development”). Burdick et al. assert that one of the characteristics of DH is “an emphasis upon curation as a defining feature of scholarly practice” (2012, 122). KPK’s projects reflect this characteristic because of our ongoing commitment to adhere to the latest standards where we can, and to question any standards that seem exclusionary to scholars who are doing good works in unconventional DH environments.

Hand-in-hand with due diligence is the time it takes to seek, evaluate, master,  train others, and implement new technologies and curate our information so KPK’s work can be made public and is easily disseminated. When we started KPK two years ago, we used two tools for content creation: WordPress and Google Docs. As our work evolved towards curation, we discovered more tools and applied them to our work.  More recently, KPK members have been trained on or exposed to a variety of digital curation platforms, including Omeka, Timeline JS, and Mindomo.

While these technologies make information gathering and presentation easier, it still takes quite a while to get work done. For instance, it takes about 4 hours to gather and curate all the items for the average KPK artist profile, and another 2 hours to input the items into KPOPIANA. That doesn’t take into account how long it takes to set up the artist’s exhibit. Since a lot of Kpop information is strewn all over the Internet (and in some cases, is contradictory or not available at all), this work can be tedious and repetitive – especially if you’re working on an artist that you don’t know well (or know, but who is not your favorite). Add this time to the hours we spend tagging and adding news to our information archive, annotating interesting articles, locating scholarly work, talking to fans, and preparing data for presentations, it becomes quickly apparent that my while my enjoyment of Kpop helps me get the job done,  it isn’t the actual work of KPK.

The interesting thing is this: when I’m looking for information about an artist who I don’t know that much about; watching a music video of a group that makes me wonder how they ever made even one comeback; or analyzing a concept photo that leaves me questioning the entire cordi-noona empire –that is when my passion for Kpop kicks in, melds with my love of scholarship, and stokes my determination to get our work done right for the long-term fulfillment of the KPK mission.

Sources

Burdick, Anne, et al. Digital Humanities. Cambridge: MIT Press, 2012. Web.

Pannapacker, William. “Stop Calling it ‘Digital Humanities’.” The Chronicle of Higher Education. 18 Feb. 2013. Web. 5 Mar 2013.

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This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License

Kaetrena Davis Kendrick was interviewed about how she uses the scholarly social networking site, Academia.edu, as a tool for promotion and tenure – and how she uses it as a tool to locate scholars working on Korean popular culture:

“By cultivating an international following on Academia.edu, Kendrick has developed networks that span across disciplines and cultures, which have directly benefitted her collaborative work in digital humanities as well as her own research in international librarianship.

Working within a very small area of scholarship, Kendrick has been involved in the Kpop Kollective, a digital humanities project on Hallyu (Korean Wave) popular culture…”

Read more at the Academia.edu blog

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U.S. K-pop Fan Survey

Are you a fan of Kpop in the United States? Are you a K-pop fan of color? Make your voice heard in this brief survey for research!

U.S. K-pop Fan Survey

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