Details
Here Comes the Flood
Perspectives of Gender, Sexuality, and Stereotype in the Korean Wave|
44,99 € |
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| Verlag: | Lexington Books |
| Format: | EPUB |
| Veröffentl.: | 15.03.2022 |
| ISBN/EAN: | 9781793636317 |
| Sprache: | englisch |
| Anzahl Seiten: | 270 |
DRM-geschütztes eBook, Sie benötigen z.B. Adobe Digital Editions und eine Adobe ID zum Lesen.
Beschreibungen
<p><span>This collection breaks down the stereotypes often expected of Korean popular culture, specifically examining issues of gender, sexuality, and stereotype in a variety of cultural products including K-pop, K-drama, and cover dancing through the lens of how “Koreanness” can be defined. A diverse range of of contributors showcase how Hallyu, or the Korean Wave, began as a wave rolling across Asia and morphed into a tsunami that has impacted every continent, making Korean popular culture an industry that draws in fans on a global scale. The stereotypes and issues being explored in this collection, contributors argue, are intertwined with how Koreans both at home and in the diaspora portray themselves publicly and consider themselves privately. In tandem with this, international fans of Hallyu take part in the conversation through performance and imitation, either reinforcing or breaking away from these stereotypes. Contributors examine a wide variety of settings to connect the concepts of traditional Korean values to modern Korean society in a symbiotic relationship between these values and cultural content creators. Scholars of media studies, pop culture, gender studies, Asian studies, sociology, and cultural studies will find this book particularly useful. </span></p>
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<p><span>This book breaks down the stereotypes often expected of Korean popular culture, showing how the lines of gender, sexuality, and stereotype in Hallyu productions are often blurred to be palatable to Korean audiences or clarified to attract global audiences. </span></p>
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<p><span>Acknowledgments</span></p>
<p><span>Introduction</span></p>
<p><span>Chapter 1: Tracking the Korean Style: </span><span>Hallyu</span><span> in Hanoi, or Style in the Time of Corona</span></p>
<p><span>Michael Hurt</span></p>
<p><span>Chapter 2: “Girl Power” DPRK Style: The Girl Group Phenomenon in North Korea and its Fans across East Asia </span></p>
<p><span>Peter Moody and Seunghee Ha</span></p>
<p><span>Chapter 3: Disaporic Koreanness in </span><span>Kim’s Convenience</span></p>
<p><span>Kyong Yoon</span></p>
<p><span>Chapter 4: The New Country Women: Exploring Popular Representations of Korean </span><span>Gwichon</span><span> and Transnational Women’s Marriage-Migration to the Korean Countryside</span></p>
<p><span>Snigdha Gupta</span></p>
<p><span>Chapter 5: Gender, Genre, and History in </span><span>Great Queen Seondeok</span></p>
<p><span>Michael Ormsbee</span></p>
<p><span>Chapter 6: Breaking the Stereotype of Domestic Adoption in K-dramas</span></p>
<p><span>Marcy L. Tanter</span></p>
<p><span>Chapter 7: Crying Men Watching Webtoons: </span><span>Misaeng</span><span> and Korean Male Audiences</span></p>
<p><span>Jahyon Park</span></p>
<p><span>Chapter 8: “LISTEN TO K-POP, BURN THE POLICE!”: Swastikas, Feminism, and LGBTQ Rights in the 2019-2020 Chilean Protests</span></p>
<p><span>Moisés Park</span></p>
<p><span>Chapter 9: Queering the Wave: Drag Queens and Drag Kings in the K-Pop Industry</span></p>
<p><span>Tiago Canário</span></p>
<p><span>Chapter 10: K-pop Performance, Transcultural Negotiation of Gender Identity, and Belonging: A Case Study of a Peruvian Drag Queen Dancing to K-pop</span></p>
<p><span>Min Suk Kim</span></p>
<p><span>About the Contributors</span></p>
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<p><span>Introduction</span></p>
<p><span>Chapter 1: Tracking the Korean Style: </span><span>Hallyu</span><span> in Hanoi, or Style in the Time of Corona</span></p>
<p><span>Michael Hurt</span></p>
<p><span>Chapter 2: “Girl Power” DPRK Style: The Girl Group Phenomenon in North Korea and its Fans across East Asia </span></p>
<p><span>Peter Moody and Seunghee Ha</span></p>
<p><span>Chapter 3: Disaporic Koreanness in </span><span>Kim’s Convenience</span></p>
<p><span>Kyong Yoon</span></p>
<p><span>Chapter 4: The New Country Women: Exploring Popular Representations of Korean </span><span>Gwichon</span><span> and Transnational Women’s Marriage-Migration to the Korean Countryside</span></p>
<p><span>Snigdha Gupta</span></p>
<p><span>Chapter 5: Gender, Genre, and History in </span><span>Great Queen Seondeok</span></p>
<p><span>Michael Ormsbee</span></p>
<p><span>Chapter 6: Breaking the Stereotype of Domestic Adoption in K-dramas</span></p>
<p><span>Marcy L. Tanter</span></p>
<p><span>Chapter 7: Crying Men Watching Webtoons: </span><span>Misaeng</span><span> and Korean Male Audiences</span></p>
<p><span>Jahyon Park</span></p>
<p><span>Chapter 8: “LISTEN TO K-POP, BURN THE POLICE!”: Swastikas, Feminism, and LGBTQ Rights in the 2019-2020 Chilean Protests</span></p>
<p><span>Moisés Park</span></p>
<p><span>Chapter 9: Queering the Wave: Drag Queens and Drag Kings in the K-Pop Industry</span></p>
<p><span>Tiago Canário</span></p>
<p><span>Chapter 10: K-pop Performance, Transcultural Negotiation of Gender Identity, and Belonging: A Case Study of a Peruvian Drag Queen Dancing to K-pop</span></p>
<p><span>Min Suk Kim</span></p>
<p><span>About the Contributors</span></p>
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<p><span>Marcy L. Tanter</span><span> is an active teacher-scholar and international education advisor for the May 18 Memorial Foundation in Gwangju, South Korea. </span></p>
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<p><span>Moisés Park </span><span>is assistant professor in the Modern Languages and Cultures department at Baylor University.</span></p>
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<p><span>Moisés Park </span><span>is assistant professor in the Modern Languages and Cultures department at Baylor University.</span></p>
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