This quantitative study aims to understand the parasocial interaction (PSI) and parasocial relationship (PSR) between Swedish k-pop (korean popular music) fans and k-pop idols. The study also aims to understand how gender and stereotypes affect the way parasocial relationships are formed and upheld. Using a survey conducted through Google Forms, respondents (N=131) were questioned about their relationship to k-pop and their habits surrounding the topic k-pop and fandom from a gender- central perspective. The study also utilised previous studies conducted about both PSI and PSR as well as studies within gender, fandom and feminism to gain a greater understanding of the field of research. Results of the study show that most PSI takes place on social media apps such as Instagram, as well as chat and live streaming apps. Results show that most respondents are aware that the relationship they have to an idol is parasocial and that these fans continue the PSR because they want to support the idols. A smaller group of fans however identified their relationship to the idols as being real. Results of the study also show that male fans of k-pop interact with female idols to a higher degree than female fans, and that female fans interaction is more evenly distributed between both male and female k-pop idols. For future research on this topic the relationship between fan and idol could be explored further using in depth interviews, which would also improve the studys generalisation ability as well as improve the disproportionate participation between female and male participants.

This essay examines the presence of parasocial relationships in the comments of one k-pop girl group’s and one k-pop boy group’s vlog series on YouTube with the intent to compare and examine if the way parasocial relationships are expressed differentiates if the artist in question is a man or a woman. By the study of the two comment sections this essay intends to contribute with insights about the phenomenon of parasocial relationships from a feminist perspective. The data is examined by combining a quantitative and a qualitative method. The first step is a quantitive content analysis with which we collect and code 100 comments from each video with the purpose of mapping out the general themes of the comments and to sort out the comments which will be analysed in the next step. In the next step a qualitative linguistic analysis is used to find the main themes of the comments which express parasocial relationships. This step enables a deeper analysis and understanding of the comments which express parasocial relationships and to be able to compare the results these comments are coded as well. The results of both codings are presented in the form of charts and tables. The findings suggest that there is a slight difference between how people express parasocial relationships towards men and women. The comments under the female artists vlog were significantly shorter and had in general less comments that suggested parasocial relationships. The female artists comment section also showed the least amount of identification with the artist, less belonging and more intimacy compared to the male artists comment section.

The relationship between monstrosity and homosexuality is complex, interwoven, and essential to 21st century understandings of horror and pop culture. Yet, not enough work has been done to disentangle these narratives. While the LGBT community has recently made tremendous strides in national acceptance and legalized marriage, queer individuals still feel like the monsters of both media and real life. This thesis seeks to explore the relationship between monstrosity and queerness, developing both a lens for understanding monstrosity, and understanding pop culture monsters through that lens. This thesis seeks to dismember these cultural narratives––much as these narratives have dismembered queer communities. By dismantling and reconstructing monstrosity through verse, this thesis hopes to shed light towards the struggles queer men (and non-fictional monsters) face.

Hanbok is the traditional fashion of South Korea, and literally translates to “Korean clothing.” Once worn every day, today hanbok is reserved for special occasions and holidays; however new “modern” versions of the attire are becoming more and more popular for everyday wear. This new iteration of the traditional clothing created a new vernacular of Korean nationalism and “Koreanness” through the incorporation of modern fashion trends and traditional Korean aesthetics. Modern hanbok represents the unique relationship between nationalism, globalization, and fashion, and can be seen as an example of cultural hybridization. Looking at modern hanbok through the lens of Hallyu, or the Korean wave, provides insight into how constructions of Korean nationalism and notions of “Koreanness” are created, maintained, and change over time. In order to examine how modern hanbok operates as a new form of Korean nationalism and “Koreanness,” this thesis explores the hanbok tourism industry and the K-Pop industry in conversation with one another. Together these analyses highlight how globalization and nationalism interact with one another in different ways, and showcases Korea’s efforts to create and maintain a national imaginary while negotiating their growing economic, cultural, and political power in the world.

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