Kaetrena Davis Kendrick, M.S.L.S. • University of South Carolina Lancaster
This panel session reviews the meaning of Digital Humanities within the Library and Information Science framework, explores how the discipline is being applied in library settings, and demonstrates how DH projects support and serve library users and other stakeholders. Kendrick’s portion of the session will delve into pedagogical applications (information literacy support), research and instruction collaborations with other teaching faculty members, and other opportunities for leadership using DH tools and applications. More here.
Welcome to Part 5 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).
Lin, Angel & Tong, Avin. (2007). Crossing boundaries: male consumption of Korean TV dramas and negotiation of gender relations in modern day Hong Kong. Journal of Gender Studies, 16(3): 217-232.
Murphree, Hyon Joo Yoo. (2008). Transnational cultural production and the politics of moribund masculinity. East Asia Cultures Critique, 16(3): 661-688.
Saeji, CedarBough T. (2009). Korean pop culture: The border crossing heroines of Hallyu. Presented as part of the University of California, Los Angeles’ International Institute program, “Chew on this: A series of artist, academic and choreographic presentations by world arts and cultures graduate students and faculty. Accessed 28 August 2012 fromhttp://www.international.ucla.edu/calendar/showevent.asp?eventid=7381
Chang, Youngchi. (2009). Singles in Seoul: Korean femininity and western postfeminism in popular media. Thesis, University of Wisconsin-Milwaukee.
Manietta, Joseph. (2010). Transnational masculinities: The distributive performativity of gender in Korean boy bands. Thesis, University of Colorado.
Chan, Brenda. (2011). Of prince charming and male chauvinist pigs: Singaporean female viewers and the dream-world of Korean television dramas. International Journal of Cultural Studies, 14(3): 291-305.doi: 10.1177/1367877910391868
Kim, Yeran. (2011). Idol republic: the global emergence of girl industries and the commercialization of girl bodies. Journal of Gender Studies, 20(4): 333-345. DOI:10.1080/09589236.2011.617604
Kim, Jeongmee. (2012). My Lovely Sam-Soon: Absent sex and the unbearable lightness of sweet Korean romance. In J. Aston, B. Glynn and B. Johnson (Eds.) Television, Sex and Society: Analyzing Contemporary Representations. pp. 111 – 124. New York: Continuum International Publishing Group.
Park, Michael K. (2015). Psy-Zing up the mainstream of “Gangnam Style”: Embracing Asian masculinity as neo-minstrelsy? Journal of Communication Inquiry, 39(3): 195-212.
Oh, Chuyun. (2016). “Cinderella” in reverse: Eroticizing bodily labor of sympathetic men in K-pop practice video. In X. Lin, C. Haywood, and Mairtin Mac an Ghaill (Eds.) East Asian men: Masculinity, sexuality, and desire, (pp. 123 -141). London: Palgrave.
Praptika, Yanti. (2016). The representation of masculinity in South Korean reality show, “The Return of Superman.” Thesis, Airlangga University. Accessed 7 April 2020 fromhttp://repository.unair.ac.id/56090/.
Ainslie, Mary. J. (2017). Korean soft mascunility vs. Malay hegemony: Malaysian masculinity and Hallyu freedom. Korea Observer, 48(3): 609-638.
Basil, Glynn & Kim, Jeongmee. (2017). Life is beautiful: Gay representation, moral panics, and South Korean television drama beyond hallyu. Quarterly Review of Film & Video, 34(4): 333-347.
Oh, Chuyun & Oh, David C. (2017). Unmasking queerness: Blurring and solidifying queer lines through K-pop cross-dressing. Journal of Popular Culture, 50(1): 9-29.
Strong, Shelby. (2018). Should we pass on ‘passing women’? The stakes of (trans)gender ontologies for South Korean namjangyeoja television dramas. Thesis, Univerity of Illinois. Accessed 7 April 2020 from https://www.ideals.illinois.edu/handle/2142/101061.
Arambam, Teresa Devi. (2019). Transition of the idea of masculinity in K-pop culture within Indian viewers. Navajyoti,4(2). Accessed 7 April 2020 from https://bit.ly/34fi6F2.
Kim, Hyunsook, Kyu, Thick, & Jang, Haeyoung. (2019). Women’s gender role identity and hallyu acceptance in Myanmar. Asian Women, 35(3): 45-68.
Kwon, Seung-ho. (2019). Hallyu and gender I: Women’s identities in transition in southeast Asia. Asian Women, 35(3): i-iii.
Syed, Md, Azaknshah, Md, & Kwon, Seung-ho. (2019). Hallyu and strategic interpretation of Malaysian modernity among young Malay women. Asian Women, 35(3): 1-24.
Song, Kirsten Younghee & Velding, Victoria. (2020). Transnational masculinity in the eyes of local beholders? Young Americans’ perception of K-pop masculinities. The Journal of Men’s Studies, 28(1): 3-21.
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).
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.
Park, Gil-sung. Manufacturing creativity: Production, performance, and the dissemination of K-pop. Korea Journal, 53(4): 14-33.
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.
Hyun, Oh-seok. 2004. Taking advantage of the Hallyu wave. Korea Focus, 12(6): 47-49.
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.
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.
Hogarth, Hyun-key Kim. (2013). The Korean wave: An Asian reaction to Western-dominated globalization. Perspectives on Global Development & Technology, 12(1/2): 135-171.
Hong, Soonkwan. (2013). Surfing the Korean wave: A postcolonial critique of the mythologized middlebrow consumer culture in Asia. Qualitative Market Research: An International Journal, 16(1): 53-75.
Oh, Ingyu. (2013). The globalization of K-pop: Korea’s place in the global music industry. Korea Observer, 44(3): 389-409.
Ko, Nusta Carranza, Jeong-nam Kim, Song L. No, and Ronald Gobbi Simoes. (2014). The Korean wave Hallyu in looking at escapism in Peruvian society. Perspectives on Global Development & Technology, 13(3): 332-346.
Lee, Gyu Tag. (2014). De-nationalization and re-nationalization of culture: The globalization of K-pop.Dissertation, George Mason University.
Meza, Xanat Varga & Han Woo Park. (2015). Globalization of cultural products: A webometric analysis of Kpop in Spanish-speaking countries. Quality & Quantity, 49(4): 1345-1360.
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).
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 firstname.lastname@example.org
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.
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.
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.
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.
Ju, Hyejung & Soobum Lee. (2015). The Korean wave and Asian Americans: the ethnic meanings of transnational Korean pop culture in the USA. Journal of Media & Cultural Studies, 29(3): 323-338.
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.
Shin, Seung-il. (2006). Opening the second stage of Hallyu. Korea Focus, 14(2):65-66.
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 fromhttp://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.
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
Seabrook, John. (2012). Factory girls. New Yorker, 88(31): 88-97.
Jang, Wonho & Youngsun Kim. (2013). Envisaging the sociocultural dynamics of K-pop: Time/space hybridity, Red Queen’s race, and cosmopolitan striving. Korea Journal, 53(4): 83-106.
Dal, Yong Jin. (2014). The power of the nation-state amid Net-liberal reform: Shifting cultural policies in the new Korean wave. Pacific Affairs, 87(1): 71-92.
Kim, Yeojin. (2014). A possibility of the Korean wave Renaissance construction through K-pop: Sustainable development of the Korean wave as a cultural industry. Hastings Communications & Entertainment Law Journal, 36(1): 59-88.
Kwon, Seung-ho & Joseph Kim. (2014). The cultural industry policies of the Korean government and the Korean wave. International Journal of Cultural Policy, 20(4): 422-439.
Baek, Young Min. (2016). Relationship between cultural distance and cross-cultural music video consumption on YouTube. Social Science Computer Review, 33(6): 730-748.
Chen, Steven. (2016). Cultural technology. International Marketing Review, 33(1): 25-50.
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.
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).
This is a working post, so if you would like to submit items to this list or to the bibliography, please contact me directly email@example.com
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.
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://18.104.22.168/W_kiss61/1f501057_pv.pdf(partial scan).
Wenqing, Ji. (2009). Referring Korean experiences to enable the Chinese wind to outdo the “Korean Wave.”
Tsai, Patricia. (2013). Discovering the full potential of the 360 deal: An analysis of the Korean pop industry, Seven-Year Statute, and Talent Agencies Act. UCLA Entertainment Law Review, 20(2): 323-349.
Kim, Su-jeong. (2013). A second ‘Dae Jang Geum’ unlikely with export strategies alone. Korea Focus, December: 1-4.
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.)
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)
Kim, Hun Shik. (2018). When public diplomacy faces trade barriers and diplomatic frictions: The case of the Korean wave. Place Branding & Public Diplomacy, 14(4): 234-244.
Ochieng, Haggai Kennedy & Kim, Sungsoo. (2019). Cultural exchange and its externalities on Korea- Africa relations: How does the Korean wave affect the perception and purchasing behavior of African consumers? East Asian Economic Review, 23(4): 381-407.
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.
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 haveimproved our artist profilesandexpanded 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.
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…”
Guiding the Wave: Academic Librarians’ Practical Role in Digital Humanities
2013 Association of College and Research Libraries Conference
Indianapolis, IN • April 10-13, 2013
Kaetrena Davis Kendrick, M.S.L.S. • University of South Carolina Lancaster
This engaging poster session focuses on LIS-centric projects that support the mission of a digital cultural study focusing on the international development of Korean popular culture (Hallyu – Korean wave). Digital archiving, undergraduate teaching and learning, scholarly communication, social media tools, and digital documentation (digital-born preservation) are only a few of many skills an academic librarian can bring to digital humanities projects. Attendees will discuss how these skills have been applied to this unique study at a private liberal arts university.