The only Angel Princess of Heaven is betrothed to the Emperor of the Underworld. Unable to accept her future with the Demon King, she realizes that her only choice is to run away. Her plan is to join the human world disguised as a schoolboy! Now all of the Gods from Heaven and Hell are searching high and low on the earth trying to make sure that a wedding happens.
A fight between the members of the four guardians of Heaven breaks out as Woo-Hyun battles to win Ah-Hin's heart! As more characters from heaven and hell come to the human world to search for our runaway angel princess, Dong-Young is feeling more pressured. Her mysterious classmate, Bi-Wal, turns out to have a fiance who also came to the human world to find the Angel princess of Heaven. Will Dong-Young finally get caught?
Mi-Hyang - Bi-Wol's fiancee who has a serious crush on him - also comes to the human world determined to get rid of the angel princess. Assuming Ah-Hin is the princess, she tracks her down, only to capture Dong-Young by coincidence. But who knew that Dong-Young was the real princess?! With her secret identity revealed, will Dong-Young be able to escape from this pinch?!
Mi-Hyang - Bi-Wol's fiancee who has a serious crush on him - also comes to the human world determined to get rid of the angel princess. Assuming Ah-Hin is the princess, she tracks her down, only to capture Dong-Young by coincidence. But who knew that Dong-Young was the real princess?! With her secret identity revealed, will Dong-Young be able to escape from this pinch?!
The only Angel Princess of Heaven is betrothed to the Emperor of the Underworld. Unable to accept her future with the Demon King, she realizes that her only choice is to run away. Her plan is to join the human world disguised as a schoolboy! Now all of the Gods from Heaven and Hell are searching high and low on the earth trying to make sure that a wedding happens.
Two women's lives and identities are intertwined — through World War II and the Korean War — revealing the harsh realities of class division in the early part of the 20th century. Can't I Go Instead follows the lives of the daughter of a Korean nobleman and her maidservant in the early 20th century. When the daughter’s suitor is arrested as a Korean Independence activist, and she is implicated during the investigation, she is quickly forced into marriage to one of her father’s Japanese employees and shipped off to the United States. At the same time, her maidservant is sent in her mistress's place to be a comfort woman to the Japanese Imperial army. Years of hardship, survival, and even happiness follow. In the aftermath of WWII, the women make their way home, where they must reckon with the tangled lives they've led, in an attempt to reclaim their identities, and find their places in an independent Korea.
Readings in Modern Korean Literature provides advanced students (those with at least four years of college-level training in Korean) with materials that will help them understand and appreciate modern Korean literary traditions as well as challenge them to use their Korean-language competence to the fullest extent. It offers the student a wide range of literary writing, including three different genres of poetry, short stories, and essays. Each piece is accompanied by a vocabulary glossary and notes, explanations of socio-cultural details, an introduction to the author, and a translation. The textbook is distinguished by a variety of exercises designed to enhance students’ proficiency in referential reading, writing, and comprehension skills.
A fight between the members of the four guardians of Heaven breaks out as Woo-Hyun battles to win Ah-Hin's heart! As more characters from heaven and hell come to the human world to search for our runaway angel princess, Dong-Young is feeling more pressured. Her mysterious classmate, Bi-Wal, turns out to have a fiance who also came to the human world to find the Angel princess of Heaven. Will Dong-Young finally get caught?
Mi-Hyang - Bi-Wol's fiancee who has a serious crush on him - also comes to the human world determined to get rid of the angel princess. Assuming Ah-Hin is the princess, she tracks her down, only to capture Dong-Young by coincidence. But who knew that Dong-Young was the real princess?! With her secret identity revealed, will Dong-Young be able to escape from this pinch?!
This book follows the fraught attempts of engineers to identify with Korea as a whole. It is for engineers, both Korean and non-Korean, who seek to become better critical analysts of their own expertise, identities, and commitments. It is for non-engineers who encounter or are affected by Korean engineers and engineering, and want to understand and engage them. It is for researchers who serve as critical participants in the making of engineers and puzzle over the contents and effects of techno-national formation.
Apart from the fact that the color of her eyes turn red when the moon rises, Myung-Ee is your average, albeit boy crazy fifth grader. After picking a fight with her classmate Yu-Da Lee, she discovers a startling secret: the two of them are "earth rabbits" being hunted by the "fox tribe" of the moon! Five years pass and Myung-Ee transfers to a new school in search of pretty boys. There, she unexpectedly reunites with Yu-Da. The problem is, he mysteriously doesn't remember a thing about her or their shared past at all!
Bong Joon Ho won the Oscar® for Best Director for Parasite (2019), which also won Best Picture, the first foreign film to do so, and two other Academy Awards. Parasite was the first Korean film to win the Palme d’Or at Cannes. These achievements mark a new career peak for the director, who first achieved wide international acclaim with 2006’s monster movie The Host and whose forays into English-language film with Snowpiercer (2013) and Okja (2017) brought him further recognition. As this timely book reveals, even as Bong Joon Ho has emerged as an internationally known director, his films still engage with distinctly Korean social and political contexts that may elude many Western viewers. The Films of Bong Joon Ho demonstrates how he hybridizes Hollywood conventions with local realities in order to create a cinema that foregrounds the absurd cultural anomie Koreans have experienced in tandem with their rapid economic development. Film critic and scholar Nam Lee explores how Bong subverts the structures of the genres he works within, from the crime thriller to the sci-fi film, in order to be truthful to Korean realities that often deny the reassurances of the happy Hollywood ending. With detailed readings of Bong’s films from Barking Dogs Never Bite (2000) through Parasite (2019), the book will give readers a new appreciation of this world-class cinematic talent.
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