This thesis consists of three case studies on Korean nationalism: the ‘Korean Wave,’ the relationship between technology and nationalism marked by the ‘iPhone fever,’ and ‘Hines Ward syndrome.’ The three cases and the scant attention paid to them are symptoms of both the profound changes in and the ascendancy of nationalism in contemporary Korea. Taking Korean nationalism as a discursive formation, not as a pathology or a necessary manifestation of national sovereignty, this study challenges the dominant concept of the Korean nation as a real entity. To examine these pertinent cases is an indispensable element in this study’s attempt to avoid the essentialized and fossilized understanding of the Korean nation and nationalism. By analyzing a wide range of discourses on the cases, this thesis seeks to capture the multilayered appreciation of Korean nationalism. The Korean Wave has been one of the most predominant discourses in which a set of heterogeneous cultural commodities, the Korean Wave, is represented as a demonstration of the Korean nation’s cultural potential. One of the purposes of this thesis is to deconstruct this naturalized link between culture and place. This study also rejects the deep-rooted belief in the relationship between technology and national development. Technology and science in Korea do not inherently belong to the pure realm of Truth. Technology and science have been reproduced and constructed as a driving force for and/or an indicator of national development, not only by the national elites but also by ordinary Koreans. Whereas Hines Ward as a marker of unstable boundaries of the Korean nation appears to pave the way for the elimination of long standing discrimination against mixed-blood (honhyeol) people, the unquestioned links between race and culture as well as place and identity are still prominent even in multiculturalism as an alternative to the label of honhyeol. Based on these findings, this thesis argues, despite the pronouncement of the popular globalization thesis envisioning the death of nations and nationalism, that Korean nationalism continues to exist as a center of everyday discursive practices. / text

This thesis applies a sociological framework to the North American celebrity career of Canadian pianist and broadcaster Glenn Gould (1932-1982) to account for Gould's iconic status as an artist in modern musical culture. Despite the persistent cultural fascination with Gould, as evidenced in the seemingly endless supply of biographies, films, novels, and fan texts which narrate and celebrate his life and work, modern Gould scholarship has consistently neglected issues relating to his artistic reception. This thesis proposes that the modern Gould phenomenon is productively analysed in terms of the contexts of its historical production in North America, where it first originated. Focusing on the circumstances of Gould's career during his lifetime, it identifies three areas of overlapping conceptual interest that provide the basis for an explanatory account of his modern mythology: i) Gould's relationship to the culture of his time, particularly in Canada; ii) Gould's relationship to the mass media; iii) Gould's relationship to his own artistic identity. This approach is refined through the application of Stuart Hall's 'Circuit of Culture' model, which yields an understanding of Gould's celebrity in terms of the processes of its representation, production, regulation, and consumption. Against this theoretical backdrop, and consistent with the premise of my thesis, I ask some key questions: what was Gould's relationship to Canadian cultural nationalism and, specifically, a nationalist discourse of public broadcasting? How did media institutions brand his image, and for what commercial purposes? How did Gould mobilise understandings of his genius and Canadian identity through his artistic discourse and experimental media self-representations as a 'Northerner' and a technologist? Based on this analysis, the thesis concludes that Gould continues to fascinate because of the unique ideological work performed by his cultural identities, and because of the highly mediated nature of his celebrity. The ubiquity of his image on video-sharing websites and social media platforms is a vindication of his radical belief in the validity of a musical career pursued primarily through the electronic media.