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In The Real North Korea, Lankov substitutes cold, clear analysis for the overheated rhetoric surrounding this opaque police state. Based on vast expertise, this book reveals how average North Koreans live, how their leaders rule, and how both survive
Global in scope and featuring thirty-five chapters from more than fifty dance, music, and theatre scholars and practitioners, The Routledge Companion to Musical Theatre introduces the fundamentals of musical theatre studies and highlights developing global trends in practice and scholarship. Investigating the who, what, when, where, why, and how of transnational musical theatre, The Routledge Companion to Musical Theatre is a comprehensive guide for those studying the components of musical theatre, its history, practitioners, audiences, and agendas. The Companion expands the study of musical theatre to include the ways we practice and experience musicals, their engagement with technology, and their navigation of international commercial marketplaces. The Companion is the first collection to include global musical theatre in each chapter, reflecting the musical’s status as the world’s most popular theatrical form. This book brings together practice and scholarship, featuring essays by leading and emerging scholars alongside luminaries such as Chinese musical theatre composer San Bao, Tony Award-winning star André De Shields, and Tony Award-winning director Diane Paulus. This is an essential resource for students on theatre and performance courses and an invaluable text for researchers and practitioners in these areas of study.
The first scholarly volume to investigate the impact of social media and other communication technologies on the global dissemination of the Korean Wave
A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. Melodrama films dominated the North and South Korean industries in the period between liberation from Japanese colonial rule in 1945 and the hardening of dictatorship in the 1970s. The films of each industry are often read as direct reflections of Cold War and Korean War political ideologies and national historical experiences, and therefore as aesthetically and politically opposed to each other. However, Political Moods develops a comparative analysis across the Cold War divide, analyzing how films in both North and South Korea convey political and moral ideas through the sentimentality of the melodramatic mode. Travis Workman reveals that the melancholic moods of film melodrama express the somatic and social conflicts between political ideologies and excesses of affect, meaning, and historical references. These moods dramatize the tension between the language of Cold War politics and the negative affects that connect cinema to what it cannot fully represent. The result is a new way of historicizing the cinema of the two Koreas in relation to colonialism, postcolonialism, war, and nation building.
Since the end of the nineteenth century, the Korean people have faced successive waves of foreign domination, authoritarian regimes, forced dispersal, and divided development. Throughout these turbulent times, “queer” Koreans were ignored, minimized, and erased in narratives of their modern nation, East Asia, and the wider world. This interdisciplinary volume challenges such marginalization through critical analyses of non-normative sexuality and gender variance. Considering both personal and collective forces, contributors extend individualized notions of queer neoliberalism beyond those typically set in Western queer theory. Along the way, they recount a range of illuminating topics, from shamanic rituals during the colonial era and B-grade comedy films under Cold War dictatorship to toxic masculinity in today’s South Korean military and transgender confrontations with the resident registration system. More broadly, Queer Korea offers readers new ways of understanding the limits and possibilities of human liberation under exclusionary conditions of modernity in Asia and beyond. Contributors. Pei Jean Chen, John (Song Pae) Cho, Chung-kang Kim, Timothy Gitzen, Todd A. Henry, Merose Hwang, Ruin, Layoung Shin, Shin-ae Ha, John Whittier Treat
This book explores practical and theoretical approaches to translation in Korea from the 16th century onwards, examining a variety of translations done in Korea from a diachronic perspective. Offering a discussion of the methodology for translating the Xiaoxue (Lesser or Elementary Learning), a primary textbook for Confucianism in China and other East Asian countries, the book considers the problems involving Korean Bible translation in general and the Term Question in particular. It examines James Scarth Gale, an early Canadian Protestant missionary to Korea, as one of the language’s remarkable translators. The book additionally compares three English versions of the Korean Declaration of Independence of 1919, arguing that the significant differences between them are due both to the translators’ political vision for an independent Korea as well as to their careers and Weltanschauungen. The book concludes with a detailed analysis of Deborah Smith’s English translation of ‘The Vegetarian’ by Han Kang, which won the 2016 Man Booker International Prize for Fiction.
"This autobiography combines the personal story of Ahn Byung-Mu, one of the foremost Asian theologians, with the history of the Korean nation in the light of the dramatic social, political and cultural upheavals of the 1970s. It records the history of minjung (the people's) theology, one of the vigorous theologies to emerge in Asia, Ahu's involvement in it, and his interpretations of major Christian doctrines such as God, Sin, Jesus, and Holy Spirit from the minjung perspective. The volume also contains an introductory essay which situates Ahn's work in its context and discusses the place and purpose of minjung hermeneutics in a vastly different Korea"--
Understanding North Korea through its propaganda What do the North Koreans really believe? How do they see themselves and the world around them? Here B.R. Myers, a North Korea analyst and a contributing editor of The Atlantic, presents the first full-length study of the North Korean worldview. Drawing on extensive research into the regime’s domestic propaganda, including films, romance novels and other artifacts of the personality cult, Myers analyzes each of the country’s official myths in turn—from the notion of Koreans’ unique moral purity, to the myth of an America quaking in terror of “the Iron General.” In a concise but groundbreaking historical section, Myers also traces the origins of this official culture back to the Japanese fascist thought in which North Korea’s first ideologues were schooled. What emerges is a regime completely unlike the West’s perception of it. This is neither a bastion of Stalinism nor a Confucian patriarchy, but a paranoid nationalist, “military-first” state on the far right of the ideological spectrum. Since popular support for the North Korean regime now derives almost exclusively from pride in North Korean military might, Pyongyang can neither be cajoled nor bullied into giving up its nuclear program. The implications for US foreign policy—which has hitherto treated North Korea as the last outpost of the Cold War—are as obvious as they are troubling. With North Korea now calling for a “blood reckoning” with the “Yankee jackals,” Myers’s unprecedented analysis could not be more timely.
To much of the world, North Korea is an impenetrable mystery, its inner workings unknown and its actions toward the outside unpredictable and frequently provocative. Tyranny of the Weak reveals for the first time the motivations, processes, and effects of North Korea’s foreign relations during the Cold War era. Drawing on extensive research in the archives of North Korea’s present and former communist allies, including the Soviet Union, China, and East Germany, Charles K. Armstrong tells in vivid detail how North Korea managed its alliances with fellow communist states, maintained a precarious independence in the Sino-Soviet split, attempted to reach out to the capitalist West and present itself as a model for Third World development, and confronted and engaged with its archenemies, the United States and South Korea. From the invasion that set off the Korean War in June 1950 to the collapse of the Soviet Union in 1991, Tyranny of the Weak shows how—despite its objective weakness—North Korea has managed for much of its history to deal with the outside world to its maximum advantage. Insisting on a path of "self-reliance" since the 1950s, North Korea has continually resisted pressure to change from enemies and allies alike. A worldview formed in the crucible of the Korean War and Cold War still maintains a powerful hold on North Korea in the twenty-first century, and understanding those historical forces is as urgent today as it was sixty years ago.
This book offers an in-depth study of the globalization of contemporary South Korean idol pop music, or K-Pop, visiting K-Pop and its multiple intersections with political, economic, and cultural formations and transformations. It provides detailed insights into the transformative process in and around the field of Korean pop music since the 1990s, which paved the way for the recent international rise of K-Pop and the Korean Wave. Fuhr examines the conditions and effects of transnational flows, asymmetrical power relations, and the role of the imaginary "other" in K-Pop production and consumption, relating them to the specific aesthetic dimensions and material conditions of K-Pop stars, songs, and videos. Further, the book reveals how K-Pop is deployed for strategies of national identity construction in connection with Korean cultural politics, with transnational music production circuits, and with the transnational mobility of immigrant pop idols. The volume argues that K-Pop is a highly productive cultural arena in which South Korea’s globalizing and nationalizing forces and imaginations coincide, intermingle, and counteract with each other and in which the tension between both of these poles is played out musically, visually, and discursively. This book examines a vibrant example of contemporary popular music from the non-Anglophone world and provides deeper insight into the structure of popular music and the dynamics of cultural globalization through a combined set of ethnographic, musicological, and cultural analysis. Widening the regional scope of Western-dominated popular music studies and enhancing new areas of ethnomusicology, anthropology, and cultural studies, this book will also be of interest to those studying East Asian popular culture, music globalization, and popular music.