Awakening at Elysian, Queen Yuna doesn't know that the Three Guardian Knights are part of a plot devised by Phantasma's elders. To make matters worse, Reino has accepted Princess Liberia's request to become her knight. Can a jealous Yuna win over Reino, or is it a case of unrequited love?
In recent decades, Korean communication and media have substantially grown to become some of the most significant segments of Korean society. Since the early 1990s, Korea has experienced several distinctive changes in its politics, economy, and technology, which are directly related to the development of local media and culture. Korea has greatly developed several cutting-edge technologies, such as smartphones, video games, and mobile instant messengers to become the most networked society throughout the world. As the Korean Wave exemplifies, the once small and peripheral Korea has also created several unique local popular cultures, including television programs, movies, and popular music, known as K-pop, and these products have penetrated many parts of the world. As Korean media and popular culture have rapidly grown, the number of media scholars and topics covering these areas in academic discourses has increased. These scholars’ interests have expanded from traditional media, such as Korean journalism and cinema, to several new cutting-edge areas, like digital technologies, health communication, and LGBT-related issues. In celebrating the Korean American Communication Association’s fortieth anniversary in 2018, this book documents and historicizes the growth of growing scholarship in the realm of Korean media and communication.
Siho's feelings for Sey are becoming more intense, and he struggles to find a way to win her affections; meanwhile, Rea's career moonlighting as a model is in jeopardy when her father discovers her secret.
Queen Yuna awakens at Elysian and is introduced to her three Guardian Knights, who are actually part of a plot devised by Phantasma's elders. And Rieno has agreed to become Princess Liberia's knight, making Yuna jealous and determined to win Reino over.
The Scorpion, the 13th novel by Kim Won-il, one of Korea's most acclaimed contemporary writers, highlights the crippling repercussions of childhood trauma- trauma that has occured and still occurs today in every culture across the globe- are shown against the setting of Korea's tortured history.
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.
During the period of Japanese domination, Kim Songsu emerged as one of Korea's leading cultural nationalists. This life history details his contribution to the self-strengthening programs moderate nationalists advocated as the foundation for Korea's independence.
In one of the first English-language studies of Korean cinema to date, Kyung Hyun Kim shows how the New Korean Cinema of the past quarter century has used the trope of masculinity to mirror the profound sociopolitical changes in the country. Since 1980, South Korea has transformed from an insular, authoritarian culture into a democratic and cosmopolitan society. The transition has fueled anxiety about male identity, and amid this tension, empowerment has been imagined as remasculinization. Kim argues that the brutality and violence ubiquitous in many Korean films is symptomatic of Korea’s on-going quest for modernity and a post-authoritarian identity. Kim offers in-depth examinations of more than a dozen of the most representative films produced in Korea since 1980. In the process, he draws on the theories of Jacques Lacan, Slavoj Zizek, Gilles Deleuze, Rey Chow, and Kaja Silverman to follow the historical trajectory of screen representations of Korean men from self-loathing beings who desire to be controlled to subjects who are not only self-sufficient but also capable of destroying others. He discusses a range of movies from art-house films including To the Starry Island (1993) and The Day a Pig Fell into the Well (1996) to higher-grossing, popular films like Whale Hunting (1984) and Shiri (1999). He considers the work of several Korean auteurs—Park Kwang-su, Jang Sun-woo, and Hong Sang-su. Kim argues that Korean cinema must begin to imagine gender relations that defy the contradictions of sexual repression in order to move beyond such binary struggles as those between the traditional and the modern, or the traumatic and the post-traumatic.
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