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East Asian Pop CultureAnalysing the Korean Wave$
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Beng Huat Chua and Koichi Iwabuchi

Print publication date: 2008

Print ISBN-13: 9789622098923

Published to Hong Kong Scholarship Online: September 2011

DOI: 10.5790/hongkong/9789622098923.001.0001

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PRINTED FROM HONG KONG SCHOLARSHIP ONLINE (www.hongkong.universitypressscholarship.com). (c) Copyright Hong Kong University Press, 2021. An individual user may print out a PDF of a single chapter of a monograph in HKSO for personal use.date: 17 September 2021

Rap(p)ing Korean Wave:

Rap(p)ing Korean Wave:

National Identity in Question

Chapter:
(p.190) (p.191) 10 Rap(p)ing Korean Wave:
Source:
East Asian Pop Culture
Author(s):

Fang-chih Irene Yang

Publisher:
Hong Kong University Press
DOI:10.5790/hongkong/9789622098923.003.0011

This chapter unpacks the meanings of “the invasion of the Korean wave” by exploring the three genres of public discourses on the Korean wave. It points out that the most dominant genre of the public discourse on the Korean wave articulates globalization with economic nationalism, which derives its legitimacy from disembodiment, rationality, calculation, and competition for self-interests. The second discourse on the Korean wave is articulated as cultural nationalism, with the Korean drama and the Korean man as the other. The third discourse on the Korean wave takes on a feminine form, addressing to female readers/consumers how women consume affectively Korean dramas, and particularly, that of the body of male stars. This chapter ends with a re-reading of the fan discourse through Martin Heidegger's notion of “technology” in the hope of transforming the existing public sphere which leaves women no place to speak. It is noted that Heidegger's reading of technology might be a starting point to think about the strategies of transformation.

Keywords:   Korean wave, public discourses, economic nationalism, globalization, cultural nationalism, Korean dramas, Martin Heidegger, technology, transformation

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