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K- Popping: Korean Women, K-Pop, and Fandom

机译:韩国流行音乐:韩国女性,韩国流行音乐和同人圈

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摘要

Korean popular music (hereafter K-pop) can be understood as an inclusive cultural phenomenon. K-pop fandom constitutes a sizeable portion of this phenomenon and is characteristic, to a large degree, of K-pop culture. However, female fans, especially in Korea, are frequently disdained in mainstream Korean culture, and their fandom has been undervalued and derided. Challenging this negative view of female fans, I autoethnographically examine Korean female K-pop fandom, based on my field research in Korea from August 2015 to September 2016, and from the end of December 2016 to early January 2017. I first introduce and explain various Korean slang expressions describing fandom, including "ppasuni", a disparaging expression to describe Korean female fans. Drawing upon the concept of musicking (music as an activity people do, functioning as a verb), I chart multiple forms of musicking, which Korean female K-pop fans do before, during, and after concerts. Focusing on musicking during concerts, I analyze fan chanting and singing during musicians' live performances, also known as "ttechang". I also illuminate how female fans construct a K-pop soundscape through their different voices around the concert venue. In addition to these music-related fan practices, I explore a wide array of cultures and subcultures that Korean female K-pop fans build. Further, I investigate how Korean female fans perform feminist fandom, as well as how these fans participate in political activities through fandom. Thus, I contextualize K-pop fandom in a range of social and political phenomena. I then propose two concepts to reach a new understanding of K-pop and its female fandom -- "K-popping" and "fanscape". Building on the concept of musicking, I suggest K-pop as an action, and re-conceptualize K-pop as a verb, that is, "K-popping" or "to K-pop". Also, to avoid confining Korean female K-pop fans and their activities to fan-"dom", which differentiates and even marginalizes the fans, I expand the terminology for K-pop fan practices to fan-"scape". This term, "fanscape" can be defined as not only a place or event where fans are present to perform their fandom, but also as a collage of different sounds, images, texts, and activities, which Korean female K-pop fans create.
机译:韩国流行音乐(以下简称K-pop)可以理解为一种包容性的文化现象。 K-pop狂热现象构成了这种现象的很大一部分,并且在很大程度上是K-pop文化的特征。但是,女性粉丝,尤其是韩国的粉丝,在韩国主流文化中经常被鄙视,她们的粉丝被低估和嘲笑。为了挑战女性粉丝的这种负面观点,我根据2015年8月至2016年9月以及2016年12月底至2017年1月初在韩国进行的实地调查,对韩国女性K-pop粉丝进行了民族志研究。我首先介绍并解释各种描述fan友的韩语语,包括“ ppasuni”,这是描述韩国女性粉丝的贬低性表达。借鉴音乐王的概念(人们做音乐时的活动,充当动词),我绘制了多种形式的音乐王,这是韩国女性K-pop歌迷在演唱会之前,之中和之后所做的。我专注于音乐会期间的音乐表演,分析音乐家在现场表演(也称为“ ttechang”)中的歌迷和唱歌。我还将阐明女性歌迷如何通过他们在音乐会场地周围不同的声音来构造K-pop音景。除了这些与音乐相关的粉丝练习外,我还将探索韩国女性K-pop粉丝建立的多种文化和亚文化。此外,我研究了韩国女性粉丝如何表现出女性主义的粉丝性,以及这些粉丝如何通过粉丝性参与政治活动。因此,我在一系列社会和政治现象中将K-pop狂热背景化。然后,我提出两个概念以使人们对K-pop及其女性粉丝产生新的认识:“ K-popping”和“ fanscape”。我以音乐之王的概念为基础,建议将K-pop作为一种动作,并将K-pop重新概念化为动词,即“ K-popping”或“ to K-pop”。另外,为了避免将韩国女性K-pop粉丝及其活动限制在使“粉丝”区分开甚至被边缘化的粉丝“ dom”中,我将K-pop粉丝行为的术语扩展为“ scape”。 “粉丝景观”一词不仅可以定义为存在粉丝进行粉丝活动的场所或事件,还可以定义为韩国女性K-pop粉丝创作的各种声音,图像,文字和活动的拼贴画。

著录项

  • 作者

    Kim, Jungwon.;

  • 作者单位

    University of California, Riverside.;

  • 授予单位 University of California, Riverside.;
  • 学科 Music.;Cultural anthropology.;Gender studies.;Womens studies.;Asian studies.
  • 学位 Ph.D.
  • 年度 2017
  • 页码 397 p.
  • 总页数 397
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

  • 入库时间 2022-08-17 11:39:19

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