년 - 년
Tracking the Korean Wave in Transnational Asia : K-Pop and K-Pop Fandom in Indonesia
아시아음악학회 Asian Musicology Vol.28 2018.04 pp.9-39
...popular music began during the colonial era, with recordings of jazz and similar forms imported from Europe and the U.S. In recent decades, as Indonesians developed an indigenous popular music industry, other foreign influences have entered the popular music scene in Indonesia. Most prominent among these recently is Korean pop (“K-pop”)—which swept into Korea suddenly in the early 2000s along with a flood of Korean TV dramas. Few Indonesians could have named a Korean pop star in the 1990s, but by 2005 Korean dramas occupied primetime slots on several major TV networks and legal and pirated CDs of Rain, Se7en, and earlier stars (S.E.S., H.O.T., Shinhwa) were sold widely. BoA, born in Korea but producing CDs in Japan, was more closely associated with J-Pop, but came to be known as another KPop star. How and why did these stars from Korea gain the attention and the fandom of Indonesians? The sudden surge in awareness of Korea due to TV dramas is part of the picture, but fanrelated print media and, above all, social media have contributed in a spectacular fashion. Based on field work in Indonesia in 2005, 2008, 2010, 2013, and 2016, and extensive exploration of internet sources, I trace the contours of K-pop fandom in Indonesia, assessing the methods of distribution, the factors articulated by Kpop fans as contributing to their involvement with and enjoyment of K-pop music and its key figures. I consider the ways in which Indonesians are constructing notions of “Koreanness” in their interaction with Korean popular culture and the reasons underlying its appeal in relation to other popular musics transmitted transnationally. I conclude by considering whether the “Korean Wave” in Indonesia represents a new Asian cosmopolitanism more than an interest in “Korea” per se, as is claimed by the Korean media, and comment on the recent decline in K-pop fandom in Indonesia.
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7,200원
Indonesia’s embrace of foreign popular music began during the colonial era, with recordings of jazz and similar forms imported from Europe and the U.S. In recent decades, as Indonesians developed an indigenous popular music industry, other foreign influences have entered the popular music scene in Indonesia. Most prominent among these recently is Korean pop (“K-pop”)—which swept into Korea suddenly in the early 2000s along with a flood of Korean TV dramas. Few Indonesians could have named a Korean pop star in the 1990s, but by 2005 Korean dramas occupied primetime slots on several major TV networks and legal and pirated CDs of Rain, Se7en, and earlier stars (S.E.S., H.O.T., Shinhwa) were sold widely. BoA, born in Korea but producing CDs in Japan, was more closely associated with J-Pop, but came to be known as another KPop star. How and why did these stars from Korea gain the attention and the fandom of Indonesians? The sudden surge in awareness of Korea due to TV dramas is part of the picture, but fanrelated print media and, above all, social media have contributed in a spectacular fashion. Based on field work in Indonesia in 2005, 2008, 2010, 2013, and 2016, and extensive exploration of internet sources, I trace the contours of K-pop fandom in Indonesia, assessing the methods of distribution, the factors articulated by Kpop fans as contributing to their involvement with and enjoyment of K-pop music and its key figures. I consider the ways in which Indonesians are constructing notions of “Koreanness” in their interaction with Korean popular culture and the reasons underlying its appeal in relation to other popular musics transmitted transnationally. I conclude by considering whether the “Korean Wave” in Indonesia represents a new Asian cosmopolitanism more than an interest in “Korea” per se, as is claimed by the Korean media, and comment on the recent decline in K-pop fandom in Indonesia.
A Study of the Impact of K-POP on Regional Tourism : Leveraging the K-Prototype Algorithm
한국경영정보학회 한국경영정보학회 정기 학술대회 AI가 촉진하는 미래도시:사람-기계간 시너지로 도시 대변혁 2023.11 pp.345-348
...K-POP on the increase in the number of international tourists visiting South Korea. Consequently, not only Seoul but also regional areas such as Busan, Jeonju, and Gwangju have witnessed a rise in foreign visitor numbers. To substantiate the influence of K-POP on tourism in Korea and its regions, this study leverages the K-Prototype algorithm, a clustering analysis method known for its efficacy in handling mixed datasets. The dataset employed in this study is derived from the ‘2022 Foreign Tourist Survey’ conducted by the Korea Culture and Tourism Institute. The primary objective is to create clusters based on the behavior patterns and preferences of foreign tourists. Through this clustering process, distinct groups of foreign tourists originating from different countries can be defined, allowing for the identification of their common interests and preferences, particularly related to K-pop as a motivating factor for their tourism activities.
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4,000원
This study aims to demonstrate the impact of the recent growth in K-POP on the increase in the number of international tourists visiting South Korea. Consequently, not only Seoul but also regional areas such as Busan, Jeonju, and Gwangju have witnessed a rise in foreign visitor numbers. To substantiate the influence of K-POP on tourism in Korea and its regions, this study leverages the K-Prototype algorithm, a clustering analysis method known for its efficacy in handling mixed datasets. The dataset employed in this study is derived from the ‘2022 Foreign Tourist Survey’ conducted by the Korea Culture and Tourism Institute. The primary objective is to create clusters based on the behavior patterns and preferences of foreign tourists. Through this clustering process, distinct groups of foreign tourists originating from different countries can be defined, allowing for the identification of their common interests and preferences, particularly related to K-pop as a motivating factor for their tourism activities.
日韓の文化的融合と相互作用 ― J-POPとK-POPのカテゴリー化を中心に ―
한국일본학회 한국일본학회 학술대회 한국일본학회 창립 50주년과 일본연구의 좌표: 공생과 연대를 향해 2022.08 p.65
K-POP 가창가사의 의미 번역 전략 분석 ― BTS 곡을 중심으로 ―
한국일본학회 한국일본학회 학술대회 혐오 시대의 한일 문화횡단의 양상과 가능성 - K컬쳐와 J컬쳐를 중심으로- 2022.02 pp.89-96
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4,000원
K-POP 주요 성공 요인 분석 : 텍스트마이닝 기반 혼합 방법론
한국경영정보학회 한국경영정보학회 정기 학술대회 ICBM 기반 비즈니스 트랜스포메이션 2019.05 pp.529-534
...K-POP은 현재 글로벌 경쟁력을 가지고 꾸준히 성장하고 있으며 소셜네트워크서비스(SNS)를 중심으로 전 세계적인 팬덤(fandom) 조성을 통해 인지도를 높이고 있다. 본 연구는 전 세계적으로 주목받고 있는 한국의 아이돌 그룹 방탄소년단을 중심으로 텍스트마이닝 기법과 인터뷰 방법의 두 가지 방법을 이용한 혼합적 연구방법을 활용하여 K-POP의 주요 성공요인을 분석하고자 한다. Twitter의 온라인 게시글 들을 수집 한 후, 세 가지 텍스트마이닝 기법: 토픽모델링, 키워드 추출, 단어빈도 분석을 통해 방탄소년단이 글로벌 팬덤을 형성할 수 있었던 주요 성공 요인을 분석한다. 이와 동시에 실제 팬들과 연예계 관계자들을 대상으로 인터뷰를 실시하여 주요 성공요인을 파악한다. 두 가지 연구방법으로 도출된 분석 결과들을 융합한 것을 바탕으로 K-POP의 주요 성공 전략 방안을 제안하고자 한다.
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4,000원
한류로 지칭되고 있는 K-POP은 현재 글로벌 경쟁력을 가지고 꾸준히 성장하고 있으며 소셜네트워크서비스(SNS)를 중심으로 전 세계적인 팬덤(fandom) 조성을 통해 인지도를 높이고 있다. 본 연구는 전 세계적으로 주목받고 있는 한국의 아이돌 그룹 방탄소년단을 중심으로 텍스트마이닝 기법과 인터뷰 방법의 두 가지 방법을 이용한 혼합적 연구방법을 활용하여 K-POP의 주요 성공요인을 분석하고자 한다. Twitter의 온라인 게시글 들을 수집 한 후, 세 가지 텍스트마이닝 기법: 토픽모델링, 키워드 추출, 단어빈도 분석을 통해 방탄소년단이 글로벌 팬덤을 형성할 수 있었던 주요 성공 요인을 분석한다. 이와 동시에 실제 팬들과 연예계 관계자들을 대상으로 인터뷰를 실시하여 주요 성공요인을 파악한다. 두 가지 연구방법으로 도출된 분석 결과들을 융합한 것을 바탕으로 K-POP의 주요 성공 전략 방안을 제안하고자 한다.
K-POP 선호도에 영향을 미치는 요인의 비교연구- 아시아, 유럽을 중심으로
한국경영정보학회 한국경영정보학회 정기 학술대회 지능정보화 시대의 ICT 전략 2017.06 pp.347-350
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4,000원
케이팝은 아시아 시장에서 큰 성공을 거두었다 그러나 유럽에서는 케이팝의 인기가 매우 적을 뿐만 아니라 케이팝엔터테이먼트 회사들의 지속적인 투자에도 성과를 거두지 못하고 있다. 왜 같은 상품이 한 국가에서는 인기가 많고 다른 나라에서는 인기가 없는 것일까? 이에 아시아에서 케이팝 성공전략을 분석하고 유럽에는 어떤 전략으로 진출해야 성공할 수 있을지를 비교 분석해서 결론을 도출 하고자 한다
한국문화신학회 한국문화신학회 단행본 한류로 신학하기 - 한류와 K-Christianity 2013.05 pp.367-400
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7,600원
5. K-Pop에 나타난 다원주의 경향 분석 연구 - Arabic Trap을 중심으로 -
한국음악평론가협회 음악평론 제24집 2024.03 pp.143-162
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5,500원
한국청소년시설환경학회 한국청소년시설환경학회 학술대회 효과적인 청소년활동을 위한 공간 활용 2013.05 pp.675-685
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4,200원
Performing Korea : K-POP as Traditional (Represntational) Dance
한국예술종합학교 무용원 무용과 이론 제3호 2021.01 pp.59-82
...known fact that K-POP has become a global art form, understood within an aural, musical context. But the role of dance as a primary engine (primarily through the form of the music video) is rarely discussed. Even less considered is the fundamental, universal aspect of dance’s appeal and origins in the cognitive workings of kinesthetic empathy as actualized by mirror neurons and their role in the creation of the hybridic sense of visual proprioception that lies at the heart of felt artistic expericece on the part of an observer. This sense of visual proprioception lies at the heart of enjoyment of various media whose currency is vicarious pleasure, whether one is enjoying an action film, dance performance, cooking show, or pornography. K-POP dance’s success lies in visual proprioceptively mediated art forms as projected on millions of interconnected screens across the globe, and the key to understanding K-POP dance’s success lies in understanding K-POP as a representational art form at a time when Korean popular culture is trending worldwide, and as an art form that was hyper mediated at just he right time in the beginning of an era in which the world has only recently become visually connected across screens. The power of K-POP dance is not in the individual moves contained within it, but in its ability to maximally leverage itself within the Age of Screens and while utilizing the mechanism of visual proprioception to form a global language of dance.
It is a known fact that K-POP has become a global art form, understood within an aural, musical context. But the role of dance as a primary engine (primarily through the form of the music video) is rarely discussed. Even less considered is the fundamental, universal aspect of dance’s appeal and origins in the cognitive workings of kinesthetic empathy as actualized by mirror neurons and their role in the creation of the hybridic sense of visual proprioception that lies at the heart of felt artistic expericece on the part of an observer. This sense of visual proprioception lies at the heart of enjoyment of various media whose currency is vicarious pleasure, whether one is enjoying an action film, dance performance, cooking show, or pornography. K-POP dance’s success lies in visual proprioceptively mediated art forms as projected on millions of interconnected screens across the globe, and the key to understanding K-POP dance’s success lies in understanding K-POP as a representational art form at a time when Korean popular culture is trending worldwide, and as an art form that was hyper mediated at just he right time in the beginning of an era in which the world has only recently become visually connected across screens. The power of K-POP dance is not in the individual moves contained within it, but in its ability to maximally leverage itself within the Age of Screens and while utilizing the mechanism of visual proprioception to form a global language of dance.
한국문화신학회 한국문화신학회 단행본 한류로 신학하기 - 한류와 K-Christianity 2013.05 pp.215-253
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8,400원
온체인 데이터 분석을 통한 K-POP NFT 프로젝트의 다중 사례 연
한국경영정보학회 한국경영정보학회 정기 학술대회 디지털플랫폼 성공을 위한 경영정보학의 역할 2023.06 pp.725-730
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4,000원
스마트폰 영상과 비전 AI 기술을 활용하여 K-pop 연습생들의 춤 수행 향상도를 머신러닝으로 분류하는 연구
한국무용학회 한국무용학회 학술대회 춤의 쓸모III "움직임치료를 위한 다학제적 융합" 2025.05 p.6
Interwoven Fandom and Nationalism: Identity Negotiation of Chinese K-Pop Fans in Cyberspace
한국소통학회 한국소통학회 학술대회 인간과 기계의 소통은 우리를 행복하게 하는가? 2023.06 pp.12-13
Linguistic Analysis of Korean- English Code-Switching in K-Pop Lyrics KCI 등재후보
한국언어연구학회 언어학연구 제17권 1호 2012.04 pp.137-160
...K-Pop lyrics and its intelligibility. For this purpose, this study adopts the Matrix Language Frame model (MLF model) to analyze specific switches between the English and Korean language. The qualitative analysis of code switching found in CPs (Projection of Complimentizer: a unit of analysis) shows the use of nativized English affecting the intelligibility of lyrics. The results of analysis also indicate that the MLF model and its two principals, the System Morpheme principal and the Morpheme Order principal, account for the code-switching in K-pop lyrics. Moreover, the switches display the development of nativized variety of English in Korean society.
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6,100원
The present study is to examine the nature of morpho-syntactic characteristics of code-switching in K-Pop lyrics and its intelligibility. For this purpose, this study adopts the Matrix Language Frame model (MLF model) to analyze specific switches between the English and Korean language. The qualitative analysis of code switching found in CPs (Projection of Complimentizer: a unit of analysis) shows the use of nativized English affecting the intelligibility of lyrics. The results of analysis also indicate that the MLF model and its two principals, the System Morpheme principal and the Morpheme Order principal, account for the code-switching in K-pop lyrics. Moreover, the switches display the development of nativized variety of English in Korean society.
한류 콘텐츠를 활용한 한국문화 교육 연구 - 드라마, K-POP, 예능 중심의 담화 코퍼스 구축을 중심으로 -
국제한국언어문화학회 국제한국언어문화학회 학술대회 한국어 학습자를 위한 한국문화교육의 현재와 미래 2020.10 pp.127-139
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4,500원
한국문화예술경영학회 문화예술경영학연구 제15권 1호 통권 28호 2022.04 pp.183-199
...Korean cultural industries, yet, embedded in the crisis are hopes and discourses of opportunity for the post-COVID era. In the commercial field, K-pop entertainment companies have used the crisis as an opportunity to expand their online performance offerings and promote platform development. In contrast, the field of performing arts is still seeking to adopt effective, non-contact digitalization strategies capable of attracting audiences with lower technical skills, such as streaming existing performances online. In this paper, we compare the responses to the pandemic of the popular music industry and the performing arts sector through the lenses of sector resilience and government support. We found that, due to the economic structure of the idol-centric entertainment industry, K-pop entertainment companies with digital platforms have proven to be significantly more resilient in response to the COVID-19 crisis than the performing arts sector. Along with the digitalization and commercialization of their performance and idols, the K-pop entertainment companies have shown increased resilience and accommodated a larger audience with stronger relationships. We also analyze the effects of the government’s COVID-19 support policy on the music industry, the performing arts sector, and individual cultural workers in three main areas: mitigation policy, innovation policy, and recovery policy. We recommend that the performing arts sector build a more strategic understanding of audience relations and that the government promote innovation policies for the performing arts sector while taking into account differences between the resilience levels of various sectors.
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5,100원
The COVID-19 pandemic has caused much damage to the Korean cultural industries, yet, embedded in the crisis are hopes and discourses of opportunity for the post-COVID era. In the commercial field, K-pop entertainment companies have used the crisis as an opportunity to expand their online performance offerings and promote platform development. In contrast, the field of performing arts is still seeking to adopt effective, non-contact digitalization strategies capable of attracting audiences with lower technical skills, such as streaming existing performances online. In this paper, we compare the responses to the pandemic of the popular music industry and the performing arts sector through the lenses of sector resilience and government support. We found that, due to the economic structure of the idol-centric entertainment industry, K-pop entertainment companies with digital platforms have proven to be significantly more resilient in response to the COVID-19 crisis than the performing arts sector. Along with the digitalization and commercialization of their performance and idols, the K-pop entertainment companies have shown increased resilience and accommodated a larger audience with stronger relationships. We also analyze the effects of the government’s COVID-19 support policy on the music industry, the performing arts sector, and individual cultural workers in three main areas: mitigation policy, innovation policy, and recovery policy. We recommend that the performing arts sector build a more strategic understanding of audience relations and that the government promote innovation policies for the performing arts sector while taking into account differences between the resilience levels of various sectors.
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