Thesis (Ph. D.)--University of Oregon, 2000. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 180-203) and indexes. Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9977906.

This study explores socio-pragmatic aspects of refusals in Korean. Past researches asserted that 1) Korean speakers seldom use direct refusal formulas (e.g., Byon 2003; Lyuh 1994; Sohn 1986) and 2) Korean speakers frequently employ statement of regret/apology when refusing (e.g., Byon 2003; Kwon 2004; Lyuh 1994). Upon analysing 133 refusals drawn from Korean drama data, four generalisations are formulated, two of which are in direct conflict with the findings of past studies. The four generalisations have been further substantiated through survey process of 118 native Korean speakers in Seoul, Korea. Through the use of drama data and reinforcement via surveys, this study proposed that 1) direct refusals (e.g., direct no, negatives willingness/ability) are a common attribute of Korean refusals (showing 23.8% of total semantic formulas in the drama data), to a much greater extent than previously thought. 2) Statement of regret/apology is not a common strategy employed by native Korean speakers (1.9% of total semantic formulas in the drama data) unless a large power and/or distance variable is involved. 3) Positive opinion/feeling (e.g., "I would love to but. .. ") is also not frequently employed by native Korean speakers. 4) Frequent uses of criticism of the request/requester etc. (15.3%) identified in the data were mostly in argumentative contexts and through the results of the survey, we argue that some offrecord strategies are equally strong or stronger than bald-on-record strategies. This study introduces the use of drama as a valuable source of near-natural speech data. To date, the use of drama data in analysing speech acts have been very limited. By analysing drama data, new aspects of Korean refusals have been uncovered. In particular, this study has been found that many of the refusals involve more the augmentation of face threat than its minimisation, unless there is a large power difference and/or a distance to maintain. This is seemingly in contrast to what is assumed in the politeness theory formulated by Brown and Levinson (1987).

Thesis (M.A.)--Miami University, Dept. of Theatre, 2006. / Title from first page of PDF document. Includes bibliographical references (p. 146-148).

Thesis advisor: Christina Klein / With the recent rise in popularity of Korean media, more audiences than ever before have been exposed to portrayals of Korean women. Most female protagonists in Korean dramas adhere to Confucian gender norms: they are primarily concerned with romance and fail to drive their own narratives. This paper analyzes feminist characters who instead bend or expand conservative gender conventions in order to normalize different lifestyles for all women. In seeking out progressive portrayals, this paper focuses specifically on depictions of unmarried, elderly, and lesbian women in Korean entertainment. By honing in on women who do not fit the mold of traditional or acceptable femininity, this paper argues for more realistic representations of women in modern Korean society. / Thesis (BA) — Boston College, 2022. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Departmental Honors. / Discipline: English.

The first Western opera to be performed in Korea was Verdi's La Traviata on January 16, 1948, by the Joseon Opera Company. The first Korean opera, Chunhyangjeon by Jae Myung Hyun, premiered at the Korean National Theater in May 1950, just before the outbreak of the Korean War. Daejeon.go.kr reports that since that year approximately 200 Korean operas have been produced in Korea. Nevertheless, there have been consistent efforts to create and introduce Korean operas to the public. Most of them ended up being "one-off" performances with a single production. Most research on Korean opera has focused on its history, the challenges of producing new operas, or an analysis of selected Korean operas. This study equips singers with the following: pertinent historical background with the libretto, a synopsis, research regarding the composer and librettist, a character analysis, vocal and textual analysis of the selected opera arias, instruction regarding the Korean language, IPA, and a word-by-word translation of the text. I also make recommendations for tenor arias from Korean operas for singers with specific voice types.

本研究採焦點團體及網路文字訪談方式，以閱聽人的解釋與詮釋等心理層面探討，透過13位受訪女性閱聽人的韓劇收視經驗及風格剖析，試圖理解她們對於韓劇置入商品的接收、解讀以及個人消費間的關聯性，藉此建構出置入性行銷的影響因素與輪廓，作為未來台灣戲劇製作單位或廣告主在置入性行銷實務運用上的參考。 研究發現，身處在商業社會的都會女性早已熟悉「置入性行銷」的手法，她們對於隱性的置入較顯性的方式具有好感度，同時，她們也認為韓劇的高品質與時尚感和大量高端品牌的置入有關。對於都會女性來說，韓劇善用明星魅力包裝置入的商品，透過閱聽人理想學習典範以及大量的流行符號建構，淺移默化地影響台灣都會女性閱聽人對於韓系商品的認同。此外，本研究認為戲劇相關的部落格或影劇消息等次文本，將再次形塑置入商品對於閱聽人的影響力，並助於置入商品的再次擴散。未來有關置入性行銷策略，建議可將置入的商品或品牌融入劇情之中，以風格的營造取代品牌商標出現的頻次，同時運用高端品牌的置入商品提升其他商品的符號價值。 / This research adopts qualitative methodology to explore audience perception of product placements in Korean Drama. Upon considering the audience’s perspective, this study intends to discover cognitive activities about how placed products affect their awareness and consumption behaviors. In particular, the purpose of this study is to assist Taiwanese media practitioners and marketing planers in developing future marketing communication strategies for the practice of product placement. The results of this study indicate that 1) Female audiences in the business environment are familiar with product placement. Their attitudes toward implicit placements are more positive than explicit placements. Furthermore, they feel the volume of high fashion brands placed in Korean Drama improves the quality of the show. 2) Korean Drama is good at portrayal management, which develops affective commitment and purchase intention to the placed brands via building popular drama characters and trendy identifications. Meanwhile, the related subtexts, such as blogs, entertainment/celebrity news, are evidenced to trigger product placement effects. 3) As a marketing strategy, this study suggests integrating the placed product or brand into the storyline, to create a trend rather than using repeated appearance of brand logos in the show. In addition, the study also suggests the use of high fashion brand placements to enhance the value of the unknown products in the show.

The master thesis analyses the South Korean culture wave (known as Hallyu) in the context of globalisation and Internet development. The theoretical part defines key terms in the area of globalisation, focusing on cultural globalisation and the role of Internet. This part further explains the origins and the spread of Korean popular culture with focus on its glocalization and the role of social media and the benefits of the wave for its country. The practical part of this master thesis deals with the presence of Korean wave in the Czech Republic. Included is also own research aimed at Czech fans of Korean culture. The final part includes the research evaluation, interpretation of the findings and the results obtained.